I N T E RNA T IO NAL E 92 Lettre

M A G YA R
Lettre
E U R Ó P A I
K U L T U R Á L I S
F O L Y Ó I R A T
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2 0 1 4
Jesús Carrasco • Harald Darer • Aleš Debeljak
Ana Margarida de Carvalho • Forgách András • Háy János
Hidas Judit • Maria A. Ioannou • Konrád György
Rosa Liksom • Jørgen Lorentzen • Ulla-Lena Lundberg
Vessela Lyahova • Marco Magini • Norman Manea
Stano Masar • Hatice Meryem • Alina Molisak
Kristian Novak • Sofi Oksanen • Igor Ostachowicz
Orhan Pamuk • Marta Petreu • Yael Pieren • Andrei Pleşu
Hassan Preisler • Patrycja Pustkowiak • Pauliina Rauhala
Judith Rotem • Gregor Sander • Karl Schlögel • Roderik Six
Spiró György • Ondrej Štefánik • Kateřina Tučková
Dubravka Ugrešič • David Zábranský • Tomáš Zmeškal
EUROPEAN WRITERS’ MEETING:
HUNDRED YEARS OF EUROPE
I N T E R N A T I O N A L E
Anne Applebaum • Daniel Banulescu • Alida Bremer
S P R I N G
92
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TURKEY IN ALL ITS COLOURS
GUEST OF HONOUR AT INTERNATIONAL BOOK FESTIVAL BUDAPEST 2014
April 24-27th
Writers from Finland, Guest of Honour country of this years’ Frankfurt Bookfair at the Budapest
International Book Festival: Sofi Oksanen, Rosa Liksom, Ulla-Lena Lundberg, Pauliina Rauhala
Thursday, April 24, 2014 ▪ 4.00–6.00 pm ▪ Sofi Oksanen in Millenaris Teatrum
Friday, April 25, 2014 ▪ between 10.00 am and 6.00 pm ▪ Sofi Oksanen, Rosa Liksom, Ulla-Lena Lundberg, Pauliina Rauhala
at the European Writers’ Meeting in Millenaris Europa Pont
Saturday, April 26, 2014 ▪ 10.30 ▪ Rosa Liksom in the Marai Hall, 1.30 pm Rosa Liksom, Ulla-Lena Lundberg, Pauliina Rauhala
in the Osztovits Hall
Sunday, April 27, 2014 ▪ 3.00 pm ▪ Ulla-Lena Lundberg in the Marai Hall
FINNAGORA ▪ The Finnish Institute ▪ Suomen kulttuurin, tieteen ja talouden keskus
w w w.finnagora.hu
H U N DRE D YEARS OF EU ROPE – WAR AN D PEAC E
SOFI OKSAN E N
The period between the cold wars
is over
FOTÓ: © TONI HÄRKÖNEN
Russia’s annexation of Crimea, in blatant violation of international law, is a highly symbolic expression of power. In an exclusive article for the
Swedish newspaper Expressen, Sofi Oksanen exhorts the West to put a stop to Putin’s colonialism.
OKSANEN, Sofi
Purge
Grove/Atlantic,
2010
I wake up every morning wondering if today is the
day when eastern Europe is going to be sold out
again. I check my mobile, and when I see it hasn’t
yet announced anything too alarming, even if the
news isn’t exactly cheering, I switch on my computer and go through the news headlines, still wondering if it’s going to happen today, or tomorrow.
The day when I will only be able to cope with
the news by concentrating on observing my own
reactions and those of the world around me, because it is the duty of a writer to remember the
moments when the pages of history turn.
A new age has already begun. The inter-Cold
War period – 1989–2014 – is over.
Soviet Union was the greatest geopolitical disaster this way of exercising power has an inexhaustiof the twentieth century. The way history is taught ble budget.
is one of the methods by which this thesis is proIn 2005 the English-language television chanmoted, its retrograde content motivated by geopo- nel Russia Today was set up to serve the Kremlin’s
litical interests. This version of history is intended propaganda purposes, with an annual budget of
to reawaken Russian national pride and act as a re- more than 300 million dollars. Because the chanminder that belonging to the Russian empire was nel’s programming looks like news, everyone bebeneficial to the peoples of other nations.
lieves that it is news, whereas in fact it is focused
The former vassal states themselves take a on disseminating Russian “truths” to the West, as
rather different view.
former employees have admitted.
For years people in the West have politely
Only with the Ukrainian crisis has this propapplauded Putin’s speeches about his country’s aganda become so shameless that it no longer
“democratic development”. Putin himself has de- makes any attempt to disguise its intentions to
fined his societal model as “managed” democracy. the West, as it had previously. This is a considerThis sort of government is no democracy, but the able change.
West fell for the explanation, as it did for other euphemisms from the FSB (today’s KGB) that were In the West, editors are used to presenting the
intended to calm the rest of the world while the opinions of various parties in order to come up
elite in power in the Kremlin made preparations with an article that comes somewhere close to
for Putin’s brave new world.
the truth. But this is the wrong way to go about
The Soviet Union was rehabilitated, and jour- things when one of those parties is blatantly lying.
nalism became a suicidal career choice. Since 2012 Acting in this way also means that the western
Putin’s elite have been repatriating their assets media are indirectly repeating the message profrom the West in order to guarantee the inde- moted by the Kremlin’s siloviks [literally “people
of power”, used to denote senior politicians with
pendence of those in power.
a background in the security services].
At the very heart of Kremlin’s policy is a war
One of the founding principles
of information, full of claims and counterclaims,
of the European Union
One of the founding principles of the European because this is the cheapest way of waging war
Union is that we should at least try to learn some- and conquering territory without tanks. Fear,
thing from the past. The Eurasian Union promot- provocation, projection and propaganda: the
ed by a clique within Putin’s elite is diametrically Kremlin’s elite are masters of these. And these
opposed to this. It is based upon the choicest bits are the weapons that are always used to justify
The fallen empire’s counterattack began back in of Stalinism and National Socialism, the lessons of occupations, both to native populations and the
2005, when Putin declared that the collapse of the whose propaganda are consistently followed. And outside world.
The last time eastern Europe and the Baltic states
were sold out to the Soviet Union and its sphere
of influence under the Molotov-Ribbentrop Pact,
a manoeuvre which contributed to the Soviet
empire reaching its greatest strength. An unpaid
workforce was locked away in the slave camps
of the gulag. Now Russia has made clear in both
word and deed that it intends to restore the empire to its former glory. Brezhnev’s doctrine has
been updated and adopted by Putin:
Russia believes it has the right to intervene in
the actions of independent states if they appear
to be moving too far towards the West, and if Russia considers itself to have authority over the area
in question.
The Russian Duma is currently pushing
through a law which would facilitate the annexation of regions that were previously Soviet, and
the peoples of eastern European and Baltic countries are wondering if they have once again put
their faith in the West in vain. For the past decade
the West has paid little attention to eastern Europe, except as a source of cheap labour and profitable production facilities.
The illegal annexation of Crimea is of great
symbolic value: this is the first region since the Soviet period to have been taken from an independent state and incorporated into Russia. It is also a
test, an exploration of western tolerance and morals: will the West dare to stand by its promises – or
will it betray eastern Europe again?
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There is no higher status within the Russian power
It is impossible to negotiate with an adversary
hierarchy. In the days of the Soviet Union, at least who consistently lies about their goals. Russia has
the Party used to be above the KGB.
already shown that it adopts a diplomatic façade
Anyone who still believes that Russia is using its merely to buy time to transport heavy weaponry
“compatriot policy” to protect the interests of ethnic to the border. To buy time to push through laws
Russians outside the country’s borders is advised to supporting puppet regimes.
do a quick reality check and remember how Hitler
The West has tried to understand the policies
made use of ethnic Germans. Everyone who has being put into practice by the Kremlin, but there’s
ever visited Russia knows how little those in power really no need to understand colonialism. It is simreally care about Russians. And it was Russian ac- ply greed, and it has to be stopped.
tions under the guise of “humanitarian aid” that left
Or would we try to show understanding if Queen
South Ossetia in such a wretched state.
Elisabeth II decided to revive British colonialism?
Would you try to comprehend Angela Merkel’s thinkThe Kremlin is not particularly fond of the vari- ing if she threatened to restore the German Reich?
ously coloured revolutions in neighbouring coun- What if German television started to broadcast
tries. So people inclined towards Moscow are in- children’s programmes in which stuffed toys were
stalled in the governments of countries riddled shown preparing for war? What if Germany were
with corruption. While he was in power, Yanu- run by people trained by the Gestapo? How would
kovych managed to arrest historians investigat- you feel if the Germans regarded Hitler as one of the
ing Soviet crimes, and personally expressed his greatest men in their country’s history, the way Stalin
doubts about the Holodomar, the catastrophic fa- is regarded in Russia?
mine that was actually an act of genocide instigatWhat if Germany declared that Europe (or
ed by the Soviets in the early 1930s. His policies “Gayrope”, as the Russians call it) was governed
also included limitations on freedom of speech, by a homosexual conspiracy, as has recently been
and homophobic propaganda. Yanukovych acted claimed in a Russia bolstered by anti-gay propaas a Moscow-inclined leader is expected to act. But ganda legislation? Does anyone remember who it
the people protested, and spoiled Putin’s well-pro- was who claimed that western degeneracy was the
gressed plans to quietly unite Ukraine with Russia. result of a Jewish conspiracy?
No-one would tolerate this, not even for an inIt’s time for the West to say no to Russia’s inten- stant. You know that there is no way you could ever
tion of expanding its territory beyond the coun- explain to your grandchildren why you let it happen.
try’s borders, and this cannot be done by diplo(an exclusive article
for the Swedish newspaper Expressen)
The Baltic states have had to listen to this sort of matic dialogue.
rhetoric from Russia for years now. The rest of
the world knows relatively little about these countries – just like Ukraine. Consequently the Russian
agenda – to question their right of self-determination – is by no means an impossible task.
In what passes as the Russian media, there
have long been stories about Russians being kept
in concentration camps in Estonia (vintage of lie:
2007). It is also claimed that the children of Russian tourists could be kidnapped from hotels in
Finland, which is historically regarded as belonging to Russia (vintage of lie: 2013).
When this sort of thing is being pumped out into
the ether year after year, it is hardly surprising when
a majority of the Russian populace gradually begins
to adopt a suspicious attitude towards the West. And
this is precisely the point of it. This way people can
be mentally mobilised for war and previously amicable ethnic groups goaded against one another.
2
Compatriot policy
Imaginary enemies are exactly what Putin’s clique
needs in order to maintain their popularity and preserve the assets they have acquired for themselves by
highly questionable means. Any loss of power would
expose the corruption that allowed them to accumulate such wealth. Which is exactly what happened to
Ukraine’s deposed President Yanukovych.
For the time being, the Russian leadership is
concentrated on a small group of siloviks, and
Putin – the richest man in Europe and Russia – is
its outward face. The educational background of
the group’s members differs from that of western
politicians, and has its basis in the FSB and KGB.
FOTÓ: © TONI HÄRKÖNEN
To Russia, the annexation of the Crimean peninsular, legally part of Ukraine, was a simple nut to
crack. The invasion didn’t lead to any Russian casualties that could have brought mothers out onto the
streets, and they managed to present the West with
a narrative in which the annexation was rendered
understandable, seeing as a large proportion of the
region’s population is Russian-speaking.
The majority of these arrived in Crimea as a result of Stalin’s mass transplantations, whose purpose was to mix up the populations of the Soviet
Union’s vassal states and russify the region. Similar areas can be found in various parts of eastern
Europe. And now these people are being exploited by Putin’s gang. But the fact is that the original
inhabitants of Crimea, the Tatars, have already
been forgotten. Their experience of Stalin’s population policies culminated in genocide.
At the time of writing, the doors of houses occupied by Tatars are being marked with crosses.
Does that sound familiar?
Russia has been trying to destabilise the independence of eastern Europe and the Baltic states
for a long time now. Back in 2008 Putin described
Ukraine as an artificial state. Russia has called into
question Ukraine’s right to inviolable borders, and
through a skilful construction of lies has managed
to make it look almost like a Russian state. There’s
nothing new about this strategy: this is what happened to the young Austrian state in the 1930s,
and led to the Anschluss in 1938.
H U N DRE D YEARS OF EU ROPE – WAR AN D PEAC E
G YÖ R G Y S P I R Ó
The Peace Hunt (flash play)
Characters:
Kaiser WILHELM II of Germany
Tsar NICHOLAS II of Russia
ADJUTANT
Set on the eve of the 28th June 1914.
ADJUTANTI have Moscow on
the line, your Imperial Majesty. May
I connect Tsar Nicholas?
Yes. Your Majesty?
WILHELM
NICHOLAS
Your Majesty!
WILHELM
My dear cousin!
NICHOLAS
My dear cousin!
How is my favourite
WILHELM
relation, her Imperial Highness, the
Tsaritsa?
The Tsaritsa is fine,
NICHOLAS
thank you for asking, and sends your
Imperial Majesty warm and heartfelt
greetings. Every week she reminds
me that had your Majesty not urged
me on, I would never have dared ask
her for her hand!
Ah, yes, the eighth of
WILHELM
April twenty years ago… But it was
hardly a case of urging – I merely
gave your Majesty a bunch of flowers
with which to woo her…
Happiest year of my
NICHOLAS
life, 1894!
How fine it would be
WILHELM
to have your Royal Highness in Germany once more.
NICHOLASIt’ll be four years
this November since we hunted together on your estates.
WILHELM
Yes, it was a bit chilly
by then.
We were up to our
NICHOLAS
knees in mud! But I like the mud.
What a bag we had! Forty stags,
I think, and more than sixty deer…
It was wonderful, Majesty!
WILHELMI hope to see your
Highness in Berlin again this year.
NICHOLAS It would be my
pleasure. The war will be over by
mid-September, anyway.
WILHELM
Am I to take it your
Majesty has reason to believe there
will be war?
NICHOLASI can hardly see
how there couldn’t be, given that the
heir to the Austrian throne, Franz
Ferdinand, was shot and killed in Sarajevo earlier today.
WILHELM
I hadn’t heard.
NICHOLASI only heard five
minutes ago.
WILHELM Does his Imperial and Royal Highness Franz Josef
know?
NICHOLASHe will soon. He’s
not a sentimental man, but he’s
bound to issue Serbia with an ultimatum, which – with my backing –
they will refuse, and the armies of
Austro-Hungary will mobilize…
WILHELM
I will stand by Franz
Josef.
NICHOLAS  Your Majesty’s
troops will clash with mine in Eastern Prussia. I would recommend the
region of the river Vistula near Warsaw as a suitable battleground. It’s
all Poles ’round there anyway, so no
one will miss them. General Samsonov of my General Staff is ready
and waiting.
WILHELMFor my part, it will
be Von Mackensen. The old boy can
hardly wait to show us all what he’s
made of.
NICHOLAS
In a few weeks, after
some minor victories on the Eastern
Front, your Majesty and I will conclude a peace. I know your Majesty is
only really interested in the French
Front, anyway. I have no objection to
your Majesty’s marching into Paris.
WILHELM
Most kind.
NICHOLASBut Serbia, Romania and the Balkans will stay with
me. Poland remains divided.
Agreed.
WILHELM
There’s so much tenNICHOLAS

sion here, chaos. All sorts of lunatics,
atheists and revolutionaries running
around; and then there’s the General
staff and their thirst for glory. I simply
must find an outlet for it all.
WILHELMSame here. My Generals are hounding me to death, and
I’ve already given them every promotion there is. Von Seecht, Hindenburg, Ludendorf, von Falkenhayn,
von Moltke… There’s not enough
military manoeuvres in the world to
satisfy their urge to show off… We
need a good little war, but I’m worried they’ll get too powerful… So I
would ask your Highness to make
sure that Brusilov and your other
fine Generals put on a good show
against them.
NICHOLASI promise. These
Generals are like small, yappy dogs.
You have to let them run around a
bit from time to time so they don’t
feel the leash. Besides, the Opposition need something to rattle on
about in the Duma… Which reminds me, how are those Russian
Bolsheviks your Majesty keeps on
the payroll in Switzerland?
WILHELMThey’re fine, thank
you very much, playing lots of chess.
Not much else for them to do, really. There’s twenty-seven of them and
they’ve split into six factions that all
hate each other.
NICHOLASI really don’t know
what they see in chess.
WILHELMBut tell me more,
your Majesty, about this assassination! Where was it again?
NICHOLAS
In central Sarajevo.
WILHELM Sarajevo, where’s
that?
NICHOLAS
In Serbia. No, wait, my

adjutant is shaking his head… Croatia,
then… No? My apologies… Bosnia,
my adjutant says. Whatever. The first
assassin, a Muhamed Mehmedbašić,
didn’t have the nerve to shoot, though
he’d sworn blind he would.
WILHELM
Sounds Turkish. Are
you saying the assassins were Turks?
Some Turkified Slav,
NICHOLAS
or Slavified Turk. They’re all SouthSlav nationalists, this lot, members
of something called Narodna Odbrana. It means ‘National Guard’.
WILHELMHow many of these
South Slavs are there, anyway?
NICHOLASHow many South
Slavs? My adjutant says there’s six or
seven South Slavic peoples… and
they all want to make one little independent South Slav Kingdom. It’s
not entirely in Russia’s interest to
have such a state, but for the moment I’ve got to keep supporting
them to counter the other Slavs the
Austrians are bankrolling. Anyway,
so this Muhamed lost his nerve and
couldn’t shoot. The second assassin… what was he called? Pardon?
Nedeljko? Nedeljko, then… threw a
bomb at the car, but he set the fuse
wrong and it went off ten seconds
too late, injuring the people in the
next car… This Nedeljko took cyanide at the scene and jumped into
the river, not knowing that it was
only four inches deep! It’s a miracle
he didn’t break his neck. The cyanide was past its best, too, so he was
none the worse for it… (laughs).
Are these really your
WILHELM
Highness’s best assassins?
NICHOLASThey’re not my assassins, I just pay them. Tuppenny-ha’penny bunch, more zealots
than opportunists. But I would like
to point out that I was the first to
know about this assassination.
WILHELM
And I’ll have a thing
or two to say about that to my secret
service! They should be ashamed of
themselves. But please, continue.
NICHOLAS
Well, they took the
injured to hospital and Franz Ferdinand and the Duchess decided to go
visit them. A most commendable decision, of course, but we were tipped
off at once. The driver, who was one
of ours, happened to take a wrong
turn and decided to back up.
WILHELM There’s some word for it…
Reverse.
NICHOLAS
WILHELM
That’s it.
NICHOLASSo the driver was
manoeuvring by the riverbank, and
they say he stalled the car several
times, which made for an excellent
target. Another assassin was supposed to shoot, what was his name
again? Gavrilo Princip. Thank you.
He was all ready to take the shot
when it turned out that he’d forgotten to load his gun. So in the end
one of their own bodyguards had
to shoot the Archduke and Duchess
right inside the car, from something
like a foot and a half away. They arrested this man Princip as the assassin. He took cyanide too, but what
with all the excitement, threw it
3
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back up. Must have been off as well!
There was also some Governor in
the car with them… Pardon? My adjutant says his name is Potiorek. He
was unharmed.
WILHELM The cyanide had
gone off! (Laughter). Whoever heard
such a thing! How is the Tsarevitch?
NICHOLAS His haemophilia
seems to be getting a bit better…
he’s being treated by the most brilliant man. He’s been praying for him,
reciting incantations, and using the
laying on of hands.
WILHELMA man called Rasputin, yes?
NICHOLAS Indeed. My wife
adores him. He truly is a great man.
The only problem is that he’s against
the war. He’s afraid that it’ll mean the
downfall of the House of Romanov
and he’s been going around saying so.
WILHELM
Nonsense.
NICHOLAS
He’s brilliant, but he’s

quite uneducated and has his limits.
He can’t see the position I’m in. He
simply doesn’t understand how many
people I’ve got hounding me on all
fronts. The only way to get myself a little peace is to have a quick war.
WILHELM I know what you
mean. It’s now the end of June. It’ll
take two or three weeks for everyone to get the declarations of war,
but we should be on the battlefield
by mid-July. August will be taken up
with battles, and then we can make
peace in September.
NICHOLASSounds about right
to me.
WILHELMHow is your Majesty’s cousin, King George? Any news
of his intentions?
NICHOLAS
King George agrees
with your Majesty’s statement that
anti-British sentiment is growing in
Germany. For his part, he is supportive of – and fanning the flames of –
anti-German feeling in Britain. He
will join our side in the war, against
your Majesty.
WILHELMI’ll be counting on
it. Won’t make much difference either way, Britain is a long way off. I’m
planning to use poison gas against
the French. Apparently you can kill
hundreds of thousands of people in
minutes. I have my doubts; we’ll see.
I shan’t be using anything of the sort
against your Imperial Majesty’s troops,
of course. Please do convey my warmest greetings to King George. I can’t
wait to see what my submarines can
do to his precious navy.
NICHOL AS  King George
doesn’t think much of submarines.
He’s counting on the war ending
sometime in early October.
WILHELMMy Generals think
we’ll smash his fleet well before then.
NICHOLASI hear your Majesty also has some new-fangled war
engines.
WILHELMYes, ‘tanks’ they’re
called. Go through anything. But I’m
even more excited about my war aeroplanes. They’ll be dropping grenades
from the sky right onto the front!
NICHOLASI put my faith in
manpower. The heroism and numbers of the Russian people are inexhaustible.
WILHELMThe determination
of the German soldier is proverbial.
We’ll give the French a good thrashing. In any case, your Imperial Majesty, I hope to see you in Berlin this
September along with King George.
NICHOLASLikewise. I hereby
accept your kind invitation, and will
extend it to his Majesty King George.
I’m sure he’ll be just as pleased.
WILHELMPlease pass on my
warmest wishes to her Highness the
Empress. Queen Victoria did always
say that Alix was her favourite grandchild. We, the others, could only
look on with envy. Later, of course,
we envied you, who finally carried
her off.
NICHOLASI will. My wife is
troubled by the growing anti-German feeling within Rus. I have tried
in vain to tell her that it is necessary just now, and that it is merely
a passing phase the war will sweep
clean away. (Laughs). That a man
could dive headfirst into four inches
of water and live! C’est ridicule!
WILHELM (Laughs) Cyanide
that’s off! C’est magnifique! All the
best, dear cousin, see you on the
battlefield!
NICHOLAS
All the very best of
luck to your Royal Highness!
(Click)
ADJUTANTI have von Mackensen on the other line for you, Majesty. He says it’s urgent.
WILHELMYes, fine, in a minute. I want you to start organising
the September hunt right away. In
attendance will be the Tsar, King
George, and His Imperial and Royal
Majesty Franz Josef. What the hell,
let’s invite one of the French as well.
Whoever’s still alive and happens to
be President. It must be a special,
enormous Peace Hunt! But before
you do that, don’t forget to declare
war on everyone who needs declaring war on.
ADJUTANT
Yes, your Majesty!
WILHELMAnd don’t you go
mixing up our friends with our enemies, now!
ADJUTANT
Absolutely not, your
Highness!
WILHELMI want a huge number of animals for the hunt. At least
eighty stags, a hundred and twenty
wild boar, and the rest.
ADJUTANT
Yes, your Majesty!
And bears! Let’s give
WILHELM
the Tsar a treat. Let’s have at least
twenty polar bears!
ADJUTANTThe Russians don’t
have polar bears, Majesty…
WILHELMAll the better! Get
some over from Alaska.
ADJUTANTThe Russians sold
Alaska to America…We might not
be able to get them if America joins
the war.
WILHELMOh, please, America
is very far away and will remain neutral. But if you really want, you can
invite their President…what’s his
name again? He does have a name,
doesn’t he?
ADJUTANTI think he’s called
Nelson or Wilson or something, your
Majesty…We’ll look into it.
WILHELMThey’re a young nation, no traditions…I’d be surprised
if they knew how to hunt at all…anything other than Indians, that is.
ADJUTANTShall we get some
Indians to go with the bears, then?
WILHELMYes, better make it
sixty.
ADJUTANT Five dozen Indians,
very good. If we can’t get them from
the Americans, we’ll ask the Tzar for
some Chukchis.
Spare me the details.
WILHELM
I want this to be a special hunt, one
that people will remember! A great
big Peace Hunt, the likes of which
the world has never seen! And another thing. Before you send out the
invitations, don’t forget to declare
war on everybody, all right?
G YÖ R G Y S P I R Ó TA L K S W I T H E V E M A R I A K A L L E N
No politics, no ideology, just human relations
4
EVE-MARIE KALLENGyörgy Spiró, I would
like to find out a few things about your relationship between élet és irodalom, between life and
literature. You have been writing in many genres,
for many years and with a huge output. There is
the historical and the science-fictional novel, the
drama, the essay, the recension, even the translation. At the same time you are a university
teacher at ELTE (Eötvös Loránd Tudomány Egyetem, the University of Budapest) and at the Theatre and Film Academy in Budapest. So, to start
out with something rather simple: Where do you
find the time and the energy to do all this?
GYÖRGY SPIRÓ
I find it interesting to involve

myself in all this. Parts of this process are not
work at all. Preparing to write a historical novel
for instance, means sitting in archives, reading all
sorts of material like old chronicles and letters and
thereby reaching people that otherwise I would
not manage to meet in real life. I am interested in
writing historical novels or historical plays just because of this amusement, and I found out that we
have much more information about the past than
about the time we are actually living in.
H U N DRE D YEARS OF EU ROPE – WAR AN D PEAC E
But there is this distance which seperates us

from the past. Everything we know about past
times is indirect. When I read your historical
novel “Fogság” (Captivity), it was a very good experience for me because I learnt so much about
that described period, the time between the years
Zero and about Eighty after Christ. It enlargened
my general horizon a lot.
But how did it feel to you as a person who
lives right now to have been writing a historical novel about the very complex and far-away
topic of life and captivity of the Jewish people in
the Mediterranean region around the lifetime
of Christ?
I do not have a stable personality in my novels. There is not one person who could be identified as my voice. I am more like an actor in
these various forms of my writing. I like to play
with the possibilities. Everytime I write, I try to
write something completely new and to go to a
new form that I did not try before. I don’t want
to repeat myself.
You are several people in one and also several countries in one, it seems to me. Furthermore, you are on one hand – now talking about
Spiró, the real person – a teacher, an instructor
of what in your private time you practice as an
artist. In other words, there is an interesting cooperation between the analytical and the free,
creative part of your mind. Can you elaborate
on this a bit?
I started in the seventies to lecture at ELTE

and later at the Theatre and Film Academy. There
was also the work in theatres: I was working eleven years in Kaposvár as a literary manager (dramaturg) and three years as a managing director at
the theatre in Szolnok.
With teaching it was different. At that time, in
the late seventies and the beginning eighties, the
knowledge gap between the students and the
teachers was not as big as it is now. During the
first approximately ten years, I personally learnt a
lot from the students, things which I could use for
my theatre work. I also learnt how to be a professor, and I enjoyed all of this. But in the last decade,
in this 2000 era, things went into a shallow direction. The students have less knowledge, but also
their mentality has changed very much. They are
not anymore interested in the things that I want
to teach them. It is not a question of the number
of the works they read but of the position which
they take towards life. Somehow, they don’t know
what it means to be a human being. They are not
at home in a family. They don’t know what basic
human relationships mean. It struck me when
I was teaching one of the plays by Tchechow at the
Theatre and Film Academy. Future dramaturgs
and actors come from there. It was very interesting to see that they totally don’t understand the
relationship between two people. There, it were
Gajev and Lopachin. Lopachin is a peasant, and
Gajev is a nobleman. And they did not at all understand what it means when Gajev says: “Something
is stinking here.” They did not understand that
it is a very big hurt. It is not a question of being
an intellectual, it is not a question of anything.
They just don’t understand the basis of human
relationships.
The writer as a voice for his people
Let’s go back to your start. In 1974 you came

out with a very big success, the novel “Kerengő”
(Cloister Courtyard), in which you portrayed the
Hungarian poet Endre Ady who was a very genial person at the before-last turn of the century. He rebelled against several things in Hungary: the low level of the general state of mind, the
political dependancy of Hungary, the fact that
the genial human being could not get any understanding or respect. Why did you choose Ady?
Well, I do love Ady’s poetry very much; for me

he is the greatest Hungarian poet. His poems are
untranslatable into other languages. I know just
one exception: Miroslav Krleža, the great Croatian
writer who knew Hungarian perfectly, made a selection of Ady’s poetry in Croatian language and
that is congenial. In the novel I was not so much
interested in his poetry in general but in two very
poor books of poetry which he issued before he
became a great poet. He was already some thirty
years of age when he issued his famous “Új versek”
(New Verses) which created the high esteem for
him. They were a turning point in his poetic work.
But those two poor books from before show that
he was conscientiously working on becoming a
genius. Basically, he was not talented!
I was interested in just this. So, I took a similar guy who is absolutely not talented but decides
to be something, to make something out of his
life, exactly what is not quite clear. But morally,
he should be purified all by himself, to show that
he was worth the gift of life. This is the point that
interested me in Ady, not his poetry. This is my
question: How is it possible that somebody creates himself from nothing into something?
In Hungary as well as in other East-Europe
an countries, the writer in many instances was
a voice for his entire people. This is how I always
viewed Ady. In Hungary this was certainly true.
How is it today? Do Hungarian writers still have
this function in society?
Unfortunately yes, at least a part of them. But

it is not good for literature to play a role in this
romantic tradition, and all my life I was fighting
against it. I was interested in certain types of romantic writers and poets in my novels just because I wanted to describe this special state of
mind. I think that it is faithful to our Hungarian
and Polish and also some other mentalities. So,
I went into this mentality a bit deeper. The main
problem is that where social institutions do not
function normally, some tellers, some seers, some
poets substitute them, and it is a very poor situation when people have to believe in those persons
instead of having functioning public institutions.
Unfortunately, this is where we are in Eastern Europe till now.
But in Germany, we also know this phenom
enon. We have Günther Grass, and we used to
have Heinrich Böll, and there was Group 47, all
these people spoke up when it seemed necessary.
Writers here are obliged to represent something: social layers, ethnic minorities, the whole
nation, but first of all some sort of ideology. As
for me, I don’t want to represent anybody or anything. No politics, no ideology, just human relations are what I want to depict in my works.
But unfortunately, you cannot completely fight
this pre-modern, romantic expectation that is not
going out of the narrow terms of community and
ignores a man’s right to be an individual. If the
readers think that you are a priest, you find yourself in an uneasy situation. Most of the writers
and poets in East Europe have no problem being
thought of as priests or a spokesmen of some
party. But I have!
In 1989/1990 with the transition from socialism to capitalism we saw several poets and
writers in Eastern or Central-Eastern European
countries reaching important positions. There
was Árpád Göncz as President of Hungary and
Václav Havel in the same position in Tchechoslovakia, in Bulgaria you had Blaga Dimitrova
who also played an important political role. Is
this time over now?
No, it is not over. But you cannot do anything against it when the social institutions are
not there or not functioning properly and people
want to have leaders to follow. Writers then often
take these roles.
Do you think that something like a public
conscience has a part in this?
Yes, but as far as I am concerned as a writer,

my goal is to make people laugh and cry.
Now, the theatre person speaks!

Not only the theatre person, no, quite many

people laughed reading my novels, and in the end,
quite many of them cried. But it means that although I do deal with politics in my work – politics
is an important part of life – I myself do not think
politically. I have always been in opposition, but
not politically. I was in the opposition during the
Kádár years, but it was a spiritual opposition. I remained in the opposition in the new regime as well.
As a free-thinking individual.

Yes, but I certainly do not go into daily politics,

partly because it would be against my taste, but
partly because I don’t have enough information
about what is going on behind the scene. We have
much more information about the past – getting
back to the historical level – than about our present time. I don’t know about what they do in the
Oval Office in Washington because I am not present there and they will not tell me. I don’t know
about what they do in Moscow because I am not
in the Kremlin, either. In the historical sources
from two thousand or from one hundred years
ago, we can find those sorts of important informations that we lack now.
How does it feel to you as a writer when you

work on a theatre play, like “Chicken Heads”,
“Quartett” or any one of the many other pieces
that you wrote: does it feel different to you than
writing a novel or an essay?
Yes, there is a difference. Another part of my

soul is being moved by prose than by plays. So
I use different kinds of my capacity when I create
novels or plays.
Does this mean that you always think in im
ages, in scenes or in dialogues?
5
H u n g a r i a n
L e t t r e
•
S p e c i a l
E n g l i s h
E d i t i o n
Sp ring 2014
6
I should be able to see with my inner eye what

is happening on stage. It is a long way to reach
that capacity, and exactly that is the work I have
to do. It is another type of burden that you have
to carry. Let’s take my novel “Captivity”. I worked
for twelve years on it. I spent ten years gathering
the material while writing other things, and I did
not know what it was all going to be like. Then
I was writing it up in two years.
There are different types of burdens. Writing
prose you have to type and rewrite again and
again. The only difference between an amateur
and a professional writer is that the amateur puts
the text down just once, whereas the profi puts it
down ten times.
So, in other words, with your writing work

you have the amount of patience that you lack
with other people when they are trying to put
something on stage?
Yes. When you are writing a play, it is enough for

a day to have one good sentence or one good vision.
Then it means that you have really worked that day!
As far as language is concerned, when I com
pare the language in your plays to the language
in one of your novels, there is a very big difference. In your plays, you use very rough naturalism, and it is an entirely different set which we
get – the set of the population, the language they
throw at each other; you mirror the people that
you present. So everything is different compared
to the language you use in a novel.
The whole thing depends on irony. In prose,

you should have a certain dose of irony. You are
telling a story and you are above the story. In
prose, it is possible that you go into the soul of
a person and out of it again. There is a play with
this movement and that is for me the irony, the
distance to the whole world which I am depicting. In drama, I cannot have any bit of irony at
all because there, I have to go into a person up
to the top of my head. There, I cannot feel different from the way they do! Furthermore, in a play,
there is no sentence of mine. All the sentences are
those of my persons. So, it is impossible to write
a play with irony because you cannot be outside
the characters.
Influences are interesting. We talked about
Ady. There is a strong poetic tradition in Hungarian literature. You have poets like Ady, Kosztolányi, Attila József, until recently there was György
Petri. I have the impression that there is a reappearance of some of these big names in an epigonal shape. Who has been influencing your writing and how did it develop?
Of course, every great writer influenced me

when I was young. I was imitating a lot of them.
Ferenc Juhász had a great impact on me when
I was fifteen, sixteen. I was also writing poetry, short stories and other things. But I did not
want to become a poet, I wanted to become a
playwright. For me, for a very long time, until the
middle of the eighties, the first and most important genre was drama. But in Hungarian drama
you cannot find big names. There are some rather good playwrights but in general Hungarian
drama is not as good as Hungarian prose or poetry. So, I was very free, I had a free choice and
I was not imitating in drama. I could not know
that the very best play so far written in Hungarian language was being written as I just started my
carrier as a playwright. It is Sándor Weörös’ “The
Double-Headed Monster” which I consider to be
the absolutely best Hungarian drama. Unfortunately, Hungarian theatres don’t have the mental
facilities to present it sufficiently. We even tried it
in Szolnok but it did not work. My way of thinking
in plays is not far from Weörös Sándor’s way of
thinking. He was also something like an actor and
he played a lot of roles in his poetry as well, in fact
he was a born theatre person. Unfortunately, the
Hungarian theatres were not able to put his plays
up in a good way, so after some disappointing experiences he stopped writing plays.
Every good writer had an impact on me, not
just Hungarians. The two writers to whom I look
up the most are Gustave Flaubert and Maxim
Gorki. All of last year, I was gathering material
about the last ten years of Gorki. His life was fantastic. There are extremely interesting sources
that have come out of the archives of the KGB in
the last twenty years. I hope that one day I shall
be able to write about the last ten years of his life.
I used some of his methods in “The Exes” and in
“Captivity”, and I developed them a bit.
There is another Russian writer whom I am
obliged to, Andrej Platonow, a very great figure.
Many of his short-stories have been translated
into Hungarian. He had a special view on history
and on religion and I am very interested in religion although I am a non-religious person.
There are some great East-European writers
like Stanisław Wyspianski, the greatest Polish
playwright. I have translated some of his plays
into Hungarian. It was not an easy work because
he writes in verses and has a very complicated
rhyme-system. He is second only to Shakespeare.
I could not use his methods, but I learnt from him
how to be brave and free.
I am happy to have been or still to be the
personal friend of two great Hungarian writers,
one of them is György G. Kardos. His works have
been translated into German and other languages. I recommend to read at least one of his works,
“The seven Days of Abraham Bogatir”, translated into German by Alexander Lenard, a German-Hungarian-Italian writer and translator. He is
a big guy whose tragic life gave me the theme for
my latest play. “Die Kuh auf dem Bast” is the German title of his best book, referring to the German idiom used by settlers in Central Brasil. He
did not have an impact on my work, but as a person he was wonderful and very human.
The other Hungarian writer I am talking about
is Imre Kertész. It is an honour to have been his
friend since 1976. I have learnt a lot from him as
an originally thinking man. But his literary works
did not influence me.
something which answered a question that I always had had in my mind; it is the question of
the attitude of being the only “chosen” group of
people around. Uri is the one who says that it
makes no sense because every human being and
every human entity has been equally chosen.
The Jewish people invented this belief in a special
historical situation when they were a minority
and had no choice but to encourage themselves
by this idea. So, I am very happy that you answered this question to me.
I have nothing Jewish in me, I think. But
I come from a family that is one hundred percent Jewish, according to the Nazi standards. My
grandparents were absolutely Hungarian. They
were not religious at all and they knew only Hungarian. They were poor people on both sides. My
parents always considered themselves as Hungarians, although they were taken for Jews and
they had to hide during the Nazi years. They had
nothing to do with religions. My father was a believer of communism and remained a communist
until his death. So, we had nothing of the socalled Jewish tradition. My mother told me when
I was six years old: “You should know that we are
Jewish which means that we are as Hungarian as
other Hungarians. But if they call you a Jew, you
beat them!” That was a very wise piece of advice.
I had no problems with my Jewishness because
it was absolutely not interesting for me. Only when
I found an interesting Polish topic, the story of a
mystical sect, things changed. They had their own
Polish redeemer, a re-incarnation of Jesus Christ,
as they wanted to believe, called Andrzej Towianski. I wanted to write a novel about this special sect
that all the great Polish Romantic writers belonged
to, like Mickiewicz, Slowacki and others.
They lived in Paris in the fourties of the nineteenth century. Until the end of their lives they believed that this guy was really the second arrival of
Jesus Christ. It was a very interesting sect. There
were some Jewish people from Vilnius, a Polish
and a Jewish town at the same time. Vilnius was
at that time called “New Jerusalem” because there
were so many Jews and such important Jewish
people living there.
One of my protagonists in that novel “Messiahs”
is Jewish, a historical figure, his father was one of
the greatest printers in the diaspora. His name is
Gershon Ram. President Obama had a guy from
this Ram family in his staff, and Michail Romm,
the famous Russian film director, also comes from
this family. My Gershon Ram rebelled against his
family. He first became a Chassid, then a follower
of this redeemer, Towianski. He was baptized, met
the Pope, went to Jerusalem to convince the Jews
there to become followers of this new religion. He
led a unique life, indeed.
While I collected all these materials it turned
out that this Ram family was fighting against my
family, the Spira’s, who were also printers, not in
Vilnius but in Grodno, another Lithuanian town,
We had nothing of the so-called Jewish
and they were also printing the so called “Jerutradition
I wonder about the importance of the Jew- salem Talmud”. My grandfather’s original name
ish spirituality for your thinking, your mental was Spira, but officials misspelled it, so he bedevelopment and for the process in which you came Spiro. The name comes from Speyer, a
have been finding yourself. In “Captivity” I learnt town in Germany where a lot of Jews used to
H U N DRE D YEARS OF EU ROPE – WAR AN D PEAC E
live. Quite a number of my family members were
executed because of hatred and rivalry between
these two printer’s families, and many of them
were sent to Sibiria.
So I became interested in the Jewish mentality, Jewish history and Jewish religion only when I
was tracing down and trying to understand what
was happening in this special Polish sect. But if
somebody deals with the soul, the sentiments of
the people, it is obligatory to deal with religion,
and after all, one of the main religions is the Jewish one. Christianity cannot be understood without the Jewish religion nor without the Greek
mythology.
These questions are part of our common cul
tural heritage.
For me it was also fascinating to understand
from reading “Fogság” (Captivity) how many expressions from the Greek language are part of
the Jewish rituals and institutions, like “Synhedrion” and so many others. I could also see that
they are very much enlightened by the thoughts
of Socrates – to me, Jesus is a prolongation of
Socrates. But the Jewish traditions and rituals
also have the tragic aspect of being methods of
self-passivation.
I think that the Jewish religion of that time,

two thousand years ago, was the most unpleasant religion we have ever had. It was too complicated. It was like a twenty-four-hours-sitting in jail.
It demanded the whole day of absolute devotion.
A revolution had to happen and it happened, this
was Christianity. The Christian branch for some
three hundred years existed within the Jewish
religion. Anyway, the Jewish religion was sharply divided, with a lot of sects, with deep inside
animosity and mutual hatred. This is what Jews
and Christians equally don’t want to confess until
nowadays. Otherwise the sect of Jesus – it is not
openly stated in the novel – was a normal Greek
sect called “Pharmakioi” meaning: healers. These
people went from town to town, from village to
village and they were healing sick people. They
were treating them according to the norms and
who could be cured, was cured. The Jews took
this knowledge over and Jesus, his brothers and
some friends lived from it. They were not Essenians, they were just healers. I came to the conclusion that they were not a religious sect at all.
Maybe this was just a very conveniant basis

for ideological manipulation by a government
and, of course, the Romans did use it this way.
The Romans did not understand the Jewish re
ligion properly. Superpowers usually do not know
anything about what is going on in their provinces. They don’t understand the local mentality, legislation and traditions. They make big mistakes
because of the lack of this knowledge. The Romans were by far the most tolerant superpower
we can imagine, but even they did not know.
It is interesting how you compose “Fogság”.
The difference between Uri in Alexandria and Uri
in Rome is tremendous. He really decays after a
while from the Roman environment. He becomes
rich, but mentally he is getting lost. At some point
in time the novel just stops and it seems that he is
just making his death plight, but this is being left
open. It is dramaturgically very well mis en scène.
But what about the Jewish war?
It is mostly taken from a book by Josephus
Flavius, the title of which is “The Jewish War”. Flavius wrote two big books, the other one has the
title “The History of the Jews”. “The Jewish War” is
about the war between 66 and 70.
The pogrom in Alexandria in 38 is also taken
from contemporary sources. Philon from Alexandria who is one of my heroes in the novel, has
written two basic books about it. Usually I try to
be as near to what really happened as possible.
I even don’t use the word “pogrom”, because it
is Slavic and from later times. I have decidedly
avoided to put later events – let’s say from the
20th century – back into the story taking place in
the first century.
The main difference between the writer of
a history book and the writer of a historical novel
is that the historical novelist tries to influence the
reader not only by rationality but much deeper,
into the emotions. I want the reader to feel something, to laugh and cry, to be shocked, to have
fear, to sympathize with the protagonist, to identify with him. A historian does not have this aim.
I want the reader to remember, so I create moving
images which are easier to come up to the surface
of his memory than some rational calculations
that a historian uses.
What goes West from the East can be
translated
It explains to me a lot about yourself. I am

trying to find out about György Spiró, the writer
and what makes him go. Spiró the playright and
Spiró the novelist go together there. One could
put some of the scenes from the novel on stage
as well. In other parts you have these thoughts
where Uri tries to analyze things. So that is the
analytical part. It is also an educational novel.
Would you say that “Fogság” is the most important piece of work in your literary career so far?
I cannot judge. I have two other heavy nov
els, one is called “Messiahs”, about the Polish
sect I have already mentioned. It is very good
because I had a lot of objectively good material
there. The other one is “The Exes”, my first big
novel. It is also about a Polish topic, about a great
Polish actor, Wojczech Boguslawski, the founder
of the National Theatre in Warsaw, a really big guy.
“The Exes” has just now come out in Poland in
a good translation. Maybe, once upon a time they
will translate it into German as well.
The necessity of translation from Eastern Eu
ropean languages to Western ones is tremendous.
There are certain pieces and certain figures of
the literary history which I simply don’t know.
They come from Eastern European countries.
In the twentieth century there were two great

East-European writers that have remained rather unknown in the West. One of them is Tadeusz Borowski. He committed suicide when he
was twenty-nine. He was the one and only guy
who could really write about Auschwitz. He was
there not as a Jew but as a Pole. What he writes
about it, is really fantastic. It is a short-story book.
When Imre Kertész was writing his novel, he
remembered that the first thing he saw from the
waggon when he arrived at Auschwitz was a socker playground. All the time he was trying to find
out whether he was dreaming this playground
or whether it was real. The only place where he
could find the answer was with Borowski. He has
read Borowski in the Hungarian translation.
The other writer I recommend to you is Verulam Shalamov. He is Russian, and he has written
the “Kolima Stories”. He spent some thirty years
in the Gulag.
Hungary has an especially good tradition as

far as literary translation is concerned. How and
where did you learn all the languages you know?
Hungary was too tight for me when I started writing. I wanted to go to the West, but it was
not possible that time, so I went to the East, and
learnt quite many Eastern European languages.
I found great writers and I wanted to popularize
them in Hungary. I was absolutely unsuccessful in
this. I have written a lot of essays, translated very
much from these literatures, but actually nobody
cares. Those people who still read books, follow
the Western tendencies. What goes West from
the East can be translated into Hungarian. But
from the original without a German editor nothing goes into the Hungarian theatres or into the
hands of the people.
Let’s go back to Borowski. We have two books
by Borowski in Hungarian. One of them appeared
in ’72 – this is the one we mentioned – the other
one came out later, just a few years ago and it is
much more complete. There are some selected
poems by Borowski in this second volume that
I translated. But these books are not available at
all. My students had problems acquiring any of
them when I gave a seminar on it. Great literature,
but it has never been fashionable. It is not obligatory to know about it.
By the way, the Poles themselves don’t like
Borowski too much because he is critical of them.
It is sad to realize that it is not always a lack

of opportunity which is the reason for uneducatedness and insensibility, very often it is the lack
of interest, the absence of the wish to know.
Let’s turn to György Spiró, the poet. I know that
you have been writing some philosophical poetry.
Not much. I stopped writing poetry all together at some point in the eighties. My verses
were rather like monologues of different roles in
non-existing plays. So, I decided that I’d better
write plays. Much more lyricism you find in my
short stories. There, I felt more ready and free
to be sincere.
György Spiró, thank you very much!

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Marsipansoldaten: Finland at war
8
[Autumn 1939]
Göran goes off to the war as a volunteer and gives the Russians one on the
jaw. Well, then. First there is training, of course.
Riihimäki town. Recruit Göran Kummel billeted with 145 others in Southern elementary school. 29 men in his dormitory. A good tiled stove, tolerably
warm. Tea with bread and butter for breakfast, substantial lunch with potatoes and pork gravy or porridge and milk, soup with crispbread for dinner.
After three days Göran still has more or less all his things in his possession.
And it is nice to be able to strut up and down in the Civil Guard tunic and
warm cloak and military boots while many others are still trudging about in
the things they marched in wearing. The truly privileged ones are probably
attired in military fur-lined overcoats and fur caps from home, but the majority go about in civilian shirts and jackets and trousers, the most unfortunate
in the same blue fine-cut suits in which they arrived, trusting that they would
soon be changing into uniform.
Göran, who is comfortably off, has no reason to grumble. He arrived at
Riihimäki in a positive frame of mind, red cheeks, cheerful eyes, fully-packed
kitbag on his back and his skis over his shoulder. The right routine has stayed
with him from the Civil Guard, giving him a considerable advantage over the
untrained and the green.
It would be unfair to say that Göran Kummel is a conscious timeserver.
He just happens to be one of those whom officers notice: quick on his toes,
background in the Civil Guard. It does no harm, for in other ways Göran is at
a disadvantage. Even though there are all-Swedish formations in the Finnish
army, both Frej and Göran have chosen Finnish units. It is Father’s idea, for
he doesn’t want them to be like him, hopelessly Swedish-speaking in the Helsinki region where Finnish is advancing on a broad front. The argument, not
to be like Father, has an effect on Frej, and Göran also sees the advantages
of coming out of the war completely bilingual. In any case, he already knows
more Finnish than Frej because of his summer practice in the coastguards.
‘It’s all going to go just fine,’ he thinks without a care in the world, and it does,
in a way. There is only the problem of his Swedish name.
It feels so strange, it sounds so peculiar that sometimes he doesn’t recognise it. The hard ‘G’, the spiky ‘ö’, the truncated ‘l’ that requires an ‘i’ at the
end. And although the language war has been put to rest, there are some
gibes and taunts, which Göran takes in good spirit. What is worse is that he
still has some way to go before he is completely bilingual. Though the Finns
are supposed to be slow and taciturn, they can talk away something terrible , and sometimes the quick-thinking Göran Kummel loses the thread and
has to bluff his way, not always with quite successful results. He manages his
own talking better. Swiftly he picks up everyday idioms and expressions that
would have made his Finnish teacher in Grani turn pale, but are perfectly acceptable at the elementary school in Riihimäki.
The milieu in which he is living is familiar. The school is home from home
for him, the timetable and food are as they were in the Civil Guard. He has
always been surrounded by boys. The smells are familiar, nothing repellent,
but not enticing either, like the female smells of the haybarns.
More acrid where men gather. The smell of sweaty feet, that is really something, familiar from gym halls and changing rooms. Underarm sweat, too. The
smell of dirt that becomes distinct before the Saturday sauna. The smell of
urine from the latrine, old tobacco in one’s clothes. The smell of rot-gut from
the mouths of those who have had a night out and dared to get drunk.
And then the fresh smell of snow in the school yard, the pines, the horsedung, the fumes from passing lorries, the smell of firewood wherever one
turns, smoke from all of Riihimäki’s chimneys. Finland at war.
Mealtimes are irregular right from the outset, for Riihimäki receives assiduous attention from the Russian airforce. There are no air-raid shelters
under the school, so the recruits are ordered out to the forest when there is
an alarm. There they watch the brickworks receive a direct hit, a stack of firewood start to burn and the glassworks sounds like a gigantic breaking of the
ice when it is hit. It’s like being at the cinema, but in reality. The lads stand
and gape as at a giant-sized screen, only throwing themselves to the ground
when a flying bomb explodes nearby: ouch, my ears!
It is undeniably war, but healthy lads with matriculation certificates and
Civil Guard experience can’t be squandered away like cannon fodder. They
need to be trained as officers, and so Göran Kummel and those like him are
selected for NCO training school. School is not something one can escape
in this life, even though one thought one was joining the war in order to get
the school dust out of one’s lungs.
Göran also attracts attention in another way. His neat Civil Guard uniform is the reason why Sunday after Sunday he is detailed to the guard of
honour that stands stiffly to attention at the heroes’ funerals. One can’t help
being just a tiny bit flattered at being considered worthy of being displayed
on solemn occasions. Washed as he has been taught by Mother, shaven and
brushed, dressed in his finery and touchingly young, Göran raises the tone
in the church. Still as glass, or almost, he stands with his gaze directed forward, but his features are soft and the lad in uniform as sweet as if he were
made of marzipan. He is by no means unaware of the fact that Riihimäki’s
women and girls like to look at him. Furtively or more or less directly, and
one doesn’t need to be ashamed about that. The guard of honour stands like
an emblem of those one is mourning: young, young men with soft features
and living blue eyes, fallen for the Fatherland in their first bloom.
When one sees these serious young lads in the guard of honour one involuntarily finds oneself thinking that next time it may be them, and one wishes
them every fortune and success in their own soldiers’ career.
It is always cold, especially for those who must stand motionless at the hero’s grave or in the cold chancel and look serious. Fortunately Göran’s youth
functions like an inbuilt steam-boiler that emits thick white steam from his
mouth when he breathes, regularly, a message that the fire inside is kept at
constant pressure. If one had the courage to put one’s ear to his breast one
would be able to hear the blaze rumbling in there, the heart like a horse on
the race track, the speed steaming out of the pores.
One has such a desire to kiss such a young unknown man as he stands still,
forbidden to move. One would so much like to put one’s head against his shoulder, which he must not stir. It would be a comfort to feel if he is really as warm as
he looks, if one could open his cloak and press oneself against him as he stands
there and is not allowed to move away. It would mean a moment’s serenity to
stand there in the steam of his body among all the mourners in the church.
It is a fine custom, the guard of honour at the heroes’ funerals. Often Göran
himself is put in a solemn mood by the music from the organ and the words
before the altar, and also by the sorrow at the graves where he can see himself
inconsolably mourned. In addition, he learns a Finnish that is more grammatically correct and more standard in expression than the language spoken in the
barracks. Göran’s ear for language hears and registers, for he is accustomed to
moving in many different circles and needs more than one vocabulary. After a
short time in Riihimäki he can extend his condolences in Finnish, he can talk
about heavy sacrifices and about the greatness and loftiness of being able to
sacrifice one’s life for the Fatherland. This sacrificial death shall never be forgotten by a grateful people that stands in sorrow by the coffin. In respect, and
in the certain knowledge that the sacrifice was not in vain.
H U N DRE D YEARS OF EU ROPE – WAR AN D PEAC E
STANO MASAR: AFTER GOYA, AFTER MICHELANGELO
If by nothing else, one knows that there is a war on from the fact that the
Yet it’s warming to hear the stories about how the lads at the front use
lads at Riihimäki are going to meet their deaths at the front. Alone among the darkness, the cold and the snow to their own advantage and make the
warring nations, Finland makes colossal efforts to ferry its dead home. Lads mighty Russian war machine idle, hiss, cough and die. In places like Summa
die during their attempts to rescue dead comrades from the fire-fights, but one does not even need to waste ammunition. The whole world is talking
no sacrifice is too great, and the importance to the home front is enormous. about the Finnish encirclement technique. Ghostlike in their snow-suits, siHe comes home, he receives an individual funeral, there is a place, a mound lent, the Finnish soldiers move across heath and fell in their ancient bond
over his actual remains, where one can mourn and remember.
with the climate.
The guard of honour never say a bad word about the custom itself, though
The wildernesses are enormous up in the border regions, and the Rusthey groan when they are selected and grumble about the cold and the ex- sians are afraid of the forest. Their motorised troops move along the roads,
treme boredom. When they themselves are dead heroes they won’t object where it is easy to encircle them. Get them into a motti [encirclement], get
to others being ordered to be a guard of honour over them, they know that, them into the bag, tie the string. Even the trainees in Riihimäki can imagine
and so they stand where they have been put. A rehearsal for what it will be the mercilessness of the action out there, and with part of himself Göran is
like when it is oneself lying there, they never say that, but it crosses their thankful that he does not have to participate. With another part, the one
minds. At any rate, it crosses the mind of Göran Kummel, who will be happy that is turned outwards, he feels it intolerable to be hiding day after day like
to be sent home and properly buried and mourned according to all the rules a hare in the forest while the Russians dump their bomb-loads. When one
of the art.
could be taking part where the decisive action is happening, among Finnish
It is the winter’s indescribable cold that makes it feasible to bring home soldiers in snowsuits, silent and indomitable.
the corpses in those long transports the length and breadth of Finland. If one
So he stays in his school room, has his bunk not too far from the stove,
wants to open the coffin one will find a well-preserved, deep-frozen corpse receives food, such as it is now, exercises without danger to his life and crams
that still looks like a soldier lying there. It is a miracle how they all come and attends lectures. In his free time he practises Morse code, for now he is
home, finding their way the last mile on to country roads and forest roads to in the signals corps and is going to train as a telegraphist. Luck is on his side,
the churches that lie hidden in the impenetrable pine forest that is Finland’s for even before the war one of his training options was that of telegraphist.
camouflage uniform, dark-green during the summer half of the year and Then he planned exciting years on the Queen Elizabeth; now he is getting
white during the winter, not a glimpse of a living creature. Yet there is a net- the training completely free of charge, from the army. He still has fabulous
work of roads and paths like field-mouse burrows under the snow. Transports luck, does Göran.
get through, coffins are carried in, mourners travel along these subterranean
But if truth be told, he is also dying of boredom. Were it not for the bombpaths to their church. Its spire is invisible among the pines of the plot; the ing raids and the quick excursions to the forest, he would probably have got
great spruce trees also give themselves a shake and hide the picture from us up to some boyish prank and been kicked out of the training school. Luck
in a cloud of snow. You can hear them singing in there, as in a field-mouse’s again, for Göran really has nothing against becoming an officer, even though
nest under the protective rind. Protected for a while by grass and roots they he would rather be one right away….
sing and mourn, listen and blow their noses, knowing each single person in
On 26 February the Riihimäki anti-aircraft battery has a stroke of inspirathe church, but being totally alone. Outside the lines of graves are growing. tion and shoots down three enemy bombers. One plane comes down not far
Especially in a small congregation one can see how many they are.
from that part of the forest where the lads lie hugging the earth: the attack
Under Finland’s pines and snow the mourners also think about the living. comes early and the shooting down is unexpected: there is the plane whirThey have the Russians on top of them, and the cold. They wonder how they ring upside down and then lower in a spiral and then crash, into the forest.
are going to manage in the stiff-frozen forests where one can only dig in with
The lads exult when they see that the plane has been hit and that thick
the help of dynamite. Men home on leave have reported that where there are black smoke is gushing out of it. Then they are quiet, for before the plane
battles the forest has been shot away. Then a soldier feels quite naked, espe- enters its spiral a parachutist and then an unfolding parachute detach themcially where there are no trenches. The forest is the Finn’s soldier’s cape, and selves from it. For many it is the first parachute jump they have seen: the man
if one pulls it off him, he dies.
falls quickly, and then there is a jerk, so that when the parachute floats out
The trainees in the barracks at Riihimäki also think about the cold, of and stops him they almost think he has been shot.
course. And don’t feel any the more comfortable in their poorly heated
The parachute is incredibly beautiful and silver-gleaming in the sun, largschool rooms from knowing that the lads at the front are worse off. Each er than they imagined it. So beautiful that none of them feels like picking off
man takes his stand where he is put and grumbles about his own conditions! the descending pilot, even if they had the ammunition.
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So the man disappears into the forest and the parachute settles flat over
the pines and seems to be sucked down, and is no longer visible. It is not so
far from the place where the aeroplane carne down. Taking their bearings
from the black smoke, the lads ski over there, true soldiers on the way to
meet true enemies. But they have no true ammunition for the rifles they are
toiling along with, and no authorisation. They ought perhaps to wait until the
military police arrive, but where capturing paratroopers is concerned, everyone is both authorised and obliged.
So although they ski a little hesitantly, they ski on, and those who are in
the rear press those who are in front, depriving them of the chance to stop.
It is not hard to reach the place where the plane has come down. Now they
ought to do what they have learnt, that is, spread out in the terrain and then,
with the greatest vigilance, approach the enemy target with weapons at the
ready. But they ski in a body, those behind hard on the heels of those in front,
and only spread out when they are so close that they have to avoid pieces of
wreckage and remember that the plane that is belching smoke may explode.
They also see blood, and when the ones at the rear press forward, the ones at
the front get so close that they can see their first defeated enemies.
There are two of them, and they are dead as doornails. When the plane
crashed they were thrown out into the snow. It is unclear whether they died
when the plane was hit or only when it crashed, but in any case they make an
ugly sight and look scarcely human in their brown flying helmets and brown
leather jackets, with blood trickling along their trousers and over their boots.
‘Ugh!’ they all say. To death, that this is what you look like when you die.
Most of them have seen a corpse laid out in a coffin, but this is their first
sight of men who have just been killed. That you become so different, at the
very moment you die: grey, at once rigid and relaxed, with the red as a knifesharp contrast.
‘Ugly Russian devils!’ they say. ‘Got what they were asking for. Bloody hell!
A direct hit, and that’s their lot!’
They are so unlike living human beings that one can only stare. To think
that they fell straight into their arms! You look up at the sky and fried Russians tumble into your mouth!
There is guffawing, but no one touches them. Though they know that one
of the things you do at the front is loot Russians you’ve killed. Take souvenirs and identity discs, sometimes boots that can be better than Finnish army
issue. Weapons, of course. But now they can’t get organised enough, and anyway when the enemy tumbles down in such a peaceful way they have no option but to leave the looting to the military police.
‘We’ll have to go and report this,’ says Hämäläinen, who is a stickler for
order. But he has to ski alone while the others stand and watch. He has not
gone far when he stops, and shouts:
‘This way, lads!’ A breathless pause, and then half-choked, as though it
were too much for their vocal chords: ‘Here’s the parachute chappie!’
They set off, and there is Hämäläinen, pointing upwards. In a tall pine
tree there is a mass of tangled parachute cloth, and snared in cords and
pressed into the fork of a branch, like a large young bird of prey not yet able
to fly, a Russian paratrooper.
Alive. A plucked capercaillie waiting to be browned and popped into the pot.
A fantastic capture, a prisoner with masses of information, caught by this little
group of trainee NCOs crowding under the tree and moving to and fro on their
clumsy skis. They behave like true civilians, so sure of their advantage that it
never occurs to them that he, in this shackled position of his, may yet be armed.
Which he turns out to be. In a flash he has a pistol in his hand, raises it
to chest height in spite of the ensnaring cord, takes aim and pulls the trigger.
Dead under their very eyes. Still in the same position, well-anchored, but
dead as a doornail. His head was thrown to one side when the shot went off,
that is the only difference. Like true civilians they stand and gape, saying
nothing in their first amazement. Then a mass of swearwords in which they
dress the first suicide they have witnessed.
And why? a voice says inside Göran Kummel’s head, though he swears like
the rest. So the little troop on skis, red-cheeked lads who are the apples of
their mothers’ eyes, can seem to someone seeing them from another angle
so terrifying that he would rather shoot himself on the spot than surrender.
Perhaps this kind of thing is good for fighting morale, perhaps not. Not
at least for Göran Kummel, who is used to being feted, courted and admired.
That anyone should want to shoot himself before the sight of his open,
friendly mug is really a bit thick. ‘Ugh!’ trainee Kummel says too, but does
not hide the fact that he is shaken, for various reasons.
There is already a full mobilisation of effort in the forest. People arrive
on skis, shouting, home guardsmen and police, firemen and finally also regular staff from the barracks. The lads point, describing what happened and
growing cocky over their role of eyewitnesses. Like true civilians they jabber
about how it might have gone: where he was sitting he could have picked off
as many of them as he liked!
If he hadn’t lost his nerve, the damned Russian. They themselves would
have cold-bloodedly mown down anyone who got near and saved the last bullet for themselves. Ten Russians to one Finn, just like at the front!
They are not allowed to be present when the airman is plucked out of
the tree and looted, or when the crashed plane with its dead Ivans is taken
in hand, a crying injustice in view of the fact that it was they who saw and
found both the plane and its occupants. They are ordered back to barracks,
and return there on their skis, with excited squabbling. And are given a warm
reception. Exercise as though it were a punishment, and a red-hot instructor
in every lecture room. Instead of viewing them as heroes who have endured
their ordeal by fire, the opportunity is seized to put them in their place. As
though they had no right to be exhilarated at the sight of three fallen enemies, or to re-experience the excitement and the drama!
Through the window Göran manages to see a covered lorry driving into
the barracks area and something being loaded off the back and carried down
into the cellar. Those may be the bodies from the plane, guesses trainee
Kummel, and then stops listening to the instructor, who swiftly notices it. But
that humiliation, too, has a transition, and when it is evening Kummel and
Sirén and Hämäläinen and Varis sneak down into the cellar.
There is a staff sergeant on watch, but he knows them and says it can
do no harm for them to go and take a look. And there they lie. Two rough,
badly knocked about countenances, stubble, worn and baggy uniforms. And
then the chap with the parachute. Young, not much older than Göran. Nice
new uniform, shiny boots. Smart and stylish, handsome features. Hole in the
temple with blue round it, otherwise not much disfigured. Eyes half closed,
manly clenched jaw, handsome profile. The whole fellow could be used as
proof that death is nothing terrible.
‘Did you see?’ says Göran Kummel in admiration. ‘He would pass for Wilhelm von Schwerin!’*
And afterwards he thinks about that a lot. That not all Russians are ugly
swine. That it could have been him. There is no difference. That they are
completely interchangeable. That everything in the world just happens to
be as it is, and could equally well be the other way round. Without it making
any difference. Ivan Kummel, Göran Ivanov. Dad a kolkhoz worker, Mum a
teacher for the pioneer kids. Mum and Dad Ivanov teachers at the schoolhouse on the south coast.
For a while during the night Göran finds it hard to keep himself in himself. It is hard to keep to the fact that he has become who he is and must live
in the situation he has arrived at, for the thought of all the other things he
could have been is overwhelming. It is not so easy as where you go, tomorrow I go also. It is rather that one is only one, though one has the possibility
of being everyone.
Would he himself, wondered Göran, have had such firm self-control that
he would have been able to shoot himself? Would he not rather have experienced the same sense of unreality he was no experiencing on his straw
mattress in Riihimäki? So that it would have felt superfluous and irrelevant
to shoot the person he happened to be then, as he might equally well have
been someone else.
Yes, Göran thinks a lot about the dead soldier, proud and vain like himself
in those shiny boots and that new, well-fitting uniform. Nothing to be ashamed
about in death, either. But he might have surrendered and gone on living! What
have they been taught about the Finns? Bestial torture and no mercy? And so he
shot himself, and Mum and Dad in the schoolhouse are mourning.
What with the visits to the farms around Riihimäki, with the bombardment and the firefighting and the shot-down Russian planes, with heroes’
burials where one must fire salutes, with skiing reconnaissance in the area
and more of such, trainee Göran Kummel gets enough variety to be able, if
needs be, to endure the monotony of barracks life, the discipline and the extremely boring lectures.
H U N DRE D YEARS OF EU ROPE – WAR AN D PEAC E
STANO MASAR: AFTER DUCHAMPS, AFTER MONET
But in telegraphy he shines, and also makes an effort, as he has his sights
trained on his peacetime Atlantic steamer, luxury class. By March he is up
to 60 signals a minute and so already has a second-class passage. His reward
comes when the school is divided into two departments, one for telegraphy
and one for telephony. Kummel is relieved to find his name in the exclusive
company of the telegraphists, while most of the others see themselves demoted to telephone boys. Göran has nothing to look forward to but promotion, probably soon to the radio battalion.
In other words, things are going very well for Mummy’s boy in Riihimäki,
who does himself proud on pancakes and jam at generous farms, and on his return to barracks finds parcels from Mum: rusks and candies, pastilles and blueberry pies, on another occasion a jar of pickled herring and a real chocolate bar.
It is not bad being Göran Kummel during these March days of 1940, while
his less fortunate comrades are trying to stop the Russians on the [Karelian] Peninsula. One cannot fault him for lack of foresight or being self-preoccupied, as he and his comrades are so poorly informed. One might think it
ought to be a part of their training to follow how the battles are progressing
and have the course of the battles interpreted to them, but the idea is clearly
that at this early stage they are to learn that a soldier does not need to know
the whole picture but only the bit of it he finds himself in. In the trainees’
case that means the barracks and the dormitories, the bunks and accoutrements of which are daily pulled up and hurled about by zealous NCOs who
teach the trainees order and obedience and no answering back. For that the
whole dormitory is punished, and so one can rarely hear a sound.
It is only by the ever jerkier and unpredictable behaviour of the orderlies
that they can conclude that it is not going any further. There is also something about it in the newspapers, but mostly in general phrases about strategic regroupings at the front. When Viborg has fallen, the lads find out about
it from a newspaper someone has bought down in the market town. The orderlies are angry, and seem to be of the opinion that this is an irrelevant interruption of the screened-off barracks world, where the routines are followed
even if Helsingfors had capitulated.
For this reason, peace comes as a total surprise. But they are not, as they
have had reason to fear, the last in the land to find out about it. In the morning it is first-rate bombing weather, sunny and clear, and the trainees are
ordered into the forest. Kummel and some of his companions take a good
long tour of the forests all the way to Puukonkylä, where they at once find
a friendly farm, and are invited in.
Still steaming and flushed from their skiing, they listen to [minister of
foreign affairs] Tanner’s speech on the radio. About the honourable struggle and the hard conditions for peace. About Karelia and Hangö. About independence preserved. The people at the farm are relieved, for they have a
son in the war and can only hope that he is still alive. But the five lads don’t
know what to think, for what they think is so contradictory.
‘Damn it, we’re too late!’ they say loudly and with perfect conviction. Inwardly they feel relief at not having to go to the front, for they have finally
learned that people die there.
‘Why did they have to settle on such bad conditions? We were invincible!
All we needed to do was put in one last counter-thrust,’ they groan, and think:
‘Thank the good Lord the front held as long as it did. It came in the nick of
time, but now at least something is left.’
‘But Hangö!’ shouts Göran Kummel, who has personal knowledge of the
spur of land on the south coast, but has never set foot in Karelia. ‘We can’t
have the Russians in Hangö!’ while he reflects that it could have been worse,
they could have had the Russians in the whole country.
Only one of them, Varis, is completely silent. And now they recall that he is
from Viborg. He said nothing after the fall of the town, and he has hardly said
a word ever since. Only Hämäläinen in the bunk alongside has kept account
of the fact that he is from Karelia. So Hämäläinen says with perfect conviction:
‘We’ll take Karelia back, be sure of that! This isn’t peace, this is a strategic ceasefire. When we’ve had time to arm ourselves, we’ll have another go.’
Though meanwhile he is thinking that if Finland retakes Karelia it will happen over his, Hämäläinen’s, dead body…
When they get to Riihimäki the flags are at half mast, and the radio is playing funeral music. But for the lads returning to their quarters in the school,
what peace means is this:
When there is peace, the school is used for its true purpose, and the junior orderlies have not been idle. They have pulled up all the bunks in all the
dormitories, raked together all the kitbags and loose tackle, and transported
it all to a dormitory in the north barracks, to which they have been moved.
There everything lies in a mighty confusion. On the first evening of peace,
Göran Kummel stands with his comrades in misfortune, rooting and rummaging in the mountain of kit. No matter how hard he looks and searches,
the towel, soap, toothbrush, the bundle of envelopes and the white woollen
sweater with its reindeer pattern are nowhere to be seen. Others can record
greater losses on this first evening of peace in the Republic of Finland, but
Kummel’s individual loss must be added to the sum of the misfortunes.
TRANSLATED BY DAVID MCDUFF
(Books from Finland Issue 2001. 3. Extracts from the novel
Marsipansoldaten, ‘The marzipan soldier’, Söderström & Co., 2001)
*
A young patriot hero in Fänrik Ståls sägner (‘Tales of Ensign Stål’, 1848–60) by the Finnish national poet
J. L. Runeberg, who wrote in Swedish
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The Jewish Nation
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One of the influential figures among Polish-Jew- written in Polish there are numerous examples of
ish writers in the first half of the twentieth cen- interesting literary descriptions of the Jewish natury was Jakub Appenszlak (1894–1950) – an edi- tion connected with the idea of Zionism, I am not
tor, author, essayist, theatre critic, translator, and going to analyze all of them.
The notion of nation as an important idea that
community worker. I would like to focus on three
of his texts in different genres. What such differ- determined group identity appeared in European
ent forms as verse, novel, and manifesto have in culture in the eighteenth century and gained sigcommon is the issue of identity – the complicated nificance under the influence of Johann Gottfried
relation between Polish identity and Jewishness. Herder’s philosophy of the national state. ModAppenszlak, though deeply involved in Zionism, ern changes in eighteenth- and nineteenth-centuclaimed that Polish culture was naturally dear to ry Europe also included identity transformations
Polish Jews since the Polish language was also and had an impact on the spread and popularity
the language of Jewish literature and daily life as of the idea of nation. The closest changes and the
well as being a system of signs and symbols which origins of nation as such that Eastern European
constituted the imagined Polish-Jewish communi- Jews could observe concerned the origin of the
ty, so close to Polish Jews’ hearts. Those signs and Polish national consciousness, which, in literature,
symbols can also be the models for shaping the was expressed by Polish romantic poets. Those
changes, I believe, became one of the most inspimodern Jewish national awareness.
rational sources for the expression of Jewish naIn the first half of the twentieth century, literature tional identity.
The attempts to preserve social bonds and
written in the Polish lands can be characterized as
trilingual (Chone Shmeruk, among other scholars, a sense of community as well as group identity
has written about that).1 Works of prose, poetry, among people living under different rules in the
and drama were written in Hebrew, Yiddish, and period of the Partition of Poland (from 1772 till
Polish. Jewish periodicals (both in Polish and Yid- 1918) became a model for a dispersed Jewish diasdish) flourished from the beginning of the twen- pora, especially at a time of the gradual decline of
tieth century, as did numerous publishing houses, social bonds, which for centuries had been maintheatres, bookstores, and cabarets (although the tained by religion.3 Poetry and prose as well as
amount of freedom those institutions enjoyed dif- newspaper articles written in Polish by Jewish aufered before 1918, due to legislative differences in thors serve as good examples of the already menthe various annexations).
tioned approach to the idea of nation. Not only
Polish-Jewish authors can be characterized as did writers express their opinions on that matthose who wrote their texts in Polish and whose ter, but their attitude is highly interesting. Among
artwork was – in a more or less direct way – con- those who postulated national autonomy and who
nected with the Jewish heritage.2 It seems that, emphasized the sense of community were acculapart from the very significant studies by Eugen- turated – but not assimilated – Jews. The texts
ia Prokop-Janiec, too little academic attention has I would like to analyze come from the interwar
been paid to the Polish-Jewish part of the cultural period. The fact that they were written between
heritage. The slow process of rediscovering and the two world wars makes them even more interreinterpreting the works of authors who after the esting, because that was the time when, after the
Holocaust were often forgotten or were treated as years of the Partition, a new Polish state appeared
marginal and unimportant began in Polish con- and a large group of Jewish citizens, who had
temporary studies on literature with the publica- lived under three different rules, Russian, Prustions of Prokop-Janiec.
sian, and Austro-Hungarian, became a part of the
In my paper I would like to focus on the cate- new country. Those among Jewish writers and colgory of the Jewish nation, understood not as an umnists who had earlier undergone the process of
ethnic or religious group, but as a separate na- acculturation saw in the Polish heritage a model
tional group, which, like other groups in Europe, that could become a bond that would unite the
was acquiring its own national identity through Jewish nation.
the heritage of the European Enlightenment and
Romanticism. It is interesting that in literary texts A Separate Nation
written in Polish, Jewish authors tried to express Jews treated the appearance of independent Pothat kind of symbolic community, one that was land as an opportunity to emphasize their own
meant, in modern perspective, to bond the whole national identity. The sense of belonging to a naJewish community. Since among literary texts tion gave some of them hope of convincing Poles
that Jews not only were loyal citizens of the new
state, but also that they were, as Poles, a nation,
not a religious community only. Belonging to a
historical community that lived in the Polish lands
was often discussed in the press. In the twentieth
century Polish Jews wanted to draw attention to
their equal rights, the same as other nations had.
In the leading article published in Chwila [“A Moment”], a periodical from Lviv, one can read: “Undoubtedly, Jews constitute a different part of society than Poles, though they are not foreign in
Poland, where they have been living for 800 years
… the notion of homeland as a land belonging
only to Poles and intended for preserving Polish
culture only cannot be accepted, regarding the
fact that Poland is inhabited by a large number of
other nations. …” 4
There were numerous ways to emphasize the
Jews’ relationship with Poland as well as their
emotional commitment to the country. Mieczyslaw Braun, one of the Polish-Jewish poets, in his
poem entitled “11.XI.1929” (11 November is Independence Day in Poland and a national holiday) in an apostrophe to an anonymous tradesman, writes:
Poland is close to your heart
It rose as your independent homeland
Let your old longings soothe
The old Jew, not known by name.5
The poet, however, adds meaningful words in
last lines of the poem. The last verses emphasize
problems and disappointments that Jews experienced in Poland:
Poland will become your Homeland
In the day of general justice.6
Another poet, Jakub Lewittes, draws attention to
the need to remember mutual experiences and to
the fact that
we are the children of one and only
and indivisible.7
Although Lewittes in that poem does not avoid depicting differences and pain, above all he encourages all social classes and all national minorities
to unite in defending Poland, because he sees the
Polish land as a natural place for Jews.
One of the most interesting testimonies to the
thinking of a Jewish nation is Jakub Appenszlak’s
journalistic text, a kind of manifesto from 1918.
The year of Poland’s independence refers symbolically to the statement of a Polish-Jewish author.
By using Emile Zola’s famous “J’accuse!,” 8 which
was a significant voice of the French elite during
H U N DRE D YEARS OF EU ROPE – WAR AN D PEAC E
the Dreyfus trial, Appenszlak wrote in 1918 an
accusation against Poland.9 At the beginning of
the twentieth century the fundamental crime of
Poland, a land which once “received exiles graciously and gave human rights to disinherited,”10
lay, according to the author, in the constraints on
Jewish emancipation. In “Oskarżam!” Appenszlak
claims that the source of aversion and antisemitic
attitudes towards Jews could be traced in ancient
times. He sees the fundamental offense in placing the Jewish community outside of society, in
the lack of acceptance of a different social class
that has existed for centuries (in contrast to the
treatment of the bourgeois and peasants), as well
as in the lack of awareness of the existence of a
different ethnic group. What makes that guilt fundamental is, as the author expresses it: “your opinions about us.”11 In the Jewish historical memory,
however, there is “never forgotten Polish charity,”
“a great loftiness” and awareness that the newcomers were granted princely and royal privileges. By
emphasizing the generosity of the rulers Appenszlak asks a significant question about the benefits
of this generosity, about a particular lack of impartiality in the reception of Jews in Polish lands,
as the newcomers fulfilled important social functions, undertaking tasks that the gentry were not
willing to perform.
Despite considerable service in the modernization of Poland and much evidence of patriotism during the Napoleonic rule as well as during
Polish insurrections, despite shedding blood for
Poland and in spite of the fact that “they loved Poland madly and died for it anonymously,”12 the Jewish inhabitants of Poland remained second-class
citizens. Appenszlak reproaches Poles for treating
Jews as strangers from the beginning of their existence on Polish territory. He also points out Polish mistakes, such as an unwillingness to value
the greatness of the Jewish nation and its service
for the Polish state as well as its part in the creation of Polish culture. The exclusion that Jews suffered lasted so long that Appenszlak’s accusations
of “lack of respect for the nation” and separation
from the majority of Polish citizens, despite Jewish
service for Poland, might be justified: “[Poland] –
ordered us to rot in a muddy ghetto, while our
hands dug gold for her, while the spirit of our geniuses made her artworks alive.”13
The author, however, admits that there were
those who “pitied us and who were ready to
save us if only we lost our sense of self,”14 but
he severely condemns all assimilationist projects. He demands that Polish society allow
Jews to take part in social life without pressure to change their identity. Although Yankiel
the Cymbalist and Berek Yoselevitch have their
place in Polish historical memory, they function
as symbolic figures; they were not allowed to
speak for themselves.15
The more Appenszlak thinks about Polish history – the Partitions and the struggle to preserve
Polish identity – the more bitter are his words, as
he cannot understand why such a nation does not
value the fact that Jews also have the will to be
faithful to their heritage. Heroic Poland, which appealed to freedom and justice among European
nations and, as Appenszlak emphasizes, pointed in the ideas of the Enlightenment and was linked
out mistakes that others had made – accusing to a relative tolerance for Otherness as well as givFrance and Great Britain of lack of interest in Pol- ing hope for the equality of all social subjects, was,
ish matters – did not devote “even one moment however, in favor of Jewish assimilation and acculfor justice for the Jewish nation.”16 Even the best turation. It should be remembered, though, that
and the most noble Poles (the author mentions the nineteenth century brought to many states
Polish writers Reymont, Wyspianski, and Zerom- the crystallization of national ideas and that it
ski) were not able to look in a non-stereotypical often meant various forms of rejection or sepaway at their closest neighbors. Appenszlak’s accu- ration of Jewish communities. Anxiety over being
sations refer not only to the past, but also to pres- marginalized and rejected could lead to the reent Polish behavior, such as the boycott of trade vival or at least the reinforcement of the bonds
or the ban on entering a park, so that a young of Jewish tradition. Zionism, or rather its various
man “dressed in a traditional Jewish robe who variants, offered one of the most attractive perwanted to sit on a bench under the spruce and spectives for those in the diaspora who reacted
read maybe Adam Mickiewicz’s poetry”17 would painfully to modern dilemmas. Appenszlak’s text
be turned away. Pointing at Zeromski and thus quoted above is not only an accusation made by
at Polish elites en masse, Appenszlak asks a rhe- those who were “marginalized, disinherited and
torical question about the feelings that a reader ignored,” but, as the final lines suggest, also an
might have while reading a passage from Stefan expectation that the “Poland of tomorrow” would
Zeromski’s prose, which describes “Polish Jews as welcome Jews through an appreciation of Jewish
a marsh that cannot be dried, and even Swieto- national pride.23
chowski alone cannot help.”18
Another poet, Eleazar Merchentraum, also
wrote about his emotional relationship with PoSuch a question is linked with the diagnosis of land as well as about the experience of betrayal
the Polish intelligentsia that it was not interest- and rejection. In his poem entitled “Do Polski”
ed in Jewish heritage and culture and could not [To Poland], although he declares feelings of love
value the greatness of the Jewish nation: “And and attachment to the Polish land, nature, and culZeromski, like the whole Poland, does not know ture, he also evinces a sense of bitter awareness
that … one great poet – Bialik or Peretz – writes
I know, though, that noticing my sad love to you
in a language of many people of this country, in
Your jealous children, me, the newcomer,
a language that is foreign and unpleasant and he
With a treacherous blow of anger will knock
creates a great work of art.”19 According to Apdown to a black grave
penszlak Zeromski does not notice that the JewAnd silence will hold me in arms of your heaven.24
ish nation exists. It is worth emphasizing that
Peretz and Bialik did not write in Polish; hence Such a feeling of disappointment in the recently
the phrase that they wrote works in a “foreign independent Poland is visible also in the press.
and unpleasant” language, which means the Jew- In the years following 1918 on the one hand enish languages (Yiddish and Hebrew), might be thusiasm for Polish independence was often exinterpreted in two different ways. On the one pressed in Polish-Jewish periodicals, but on the
hand such a phrase might express the need for other there was also anxiety and fear of increasthe recognition of Jewish literature written in ing antisemitism. What was most painful for PolPolish, which might “give birth” to such brilliant ish Jews was a total lack or at least a weak reaction
writers as Peretz and Bialik. The second interpre- from Polish government to anti-Jewish attacks.
tation, more risky, is that the writers who write
in languages “foreign” to Polish readers, in “un- The Polish Romantic Model
pleasant” Yiddish or Hebrew, are also a large part I have already mentioned that ideas given by Polof the population.
ish romantic poets constituted an important point
The perspective of the text is a mutual Polish of reference or a model for those who attempted
and Jewish future (remember that the text was to shape Jewish national identity and who looked
published in 1918). Such a strong accusation is not at their community from the modern (in terms of
meant to judge history, but to serve for the future: their time) perspective. The cultural and literary
“for Poles to analyze it tomorrow.”20
heritage of the romantic period can be traced
in more or less direct references in the literary
Painful Rejection
works of different authors. I would like to draw
Appenszlak is aware that, paradoxically, Jewish attention to a few of such poets. Some interesting
Zionist aspirations are supported by those Poles poems of Daniel Ihr were published in two Polwho would like to see “Poland for Poles.” He is ish-Jewish periodicals – Chwila, mentioned earlialso aware of the fact that this “fake friendship” er, and Opinia [“The Opinion”].
hides a mask that is “twisted by antisemitic conOne of Ihr’s poems that directly refers to
vulsions.”21
Mickiewicz’s heritage is a verse entitled “Do GusMany scholars have written about the dou- tawa” [“To Gustaw”].25 Gustaw, one of the most
ble role that antisemitism played. They have also important figures of Polish Romanticism, embodpointed out that modern antisemitism, on the one ies all the features characteristic of a hero of the
hand, meant exclusion and referred to the idea of time: he is an outstanding individual who works
inferiority, while on the other it sometimes func- alone and, what is vital, who undergoes radical
tioned as a factor that strengthened Jewish identi- changes, radical existential transformation. By rety.22 European modernization, which had its roots jecting painful personal experiences, he starts a
13
H u n g a r i a n
L e t t r e
•
S p e c i a l
E n g l i s h
E d i t i o n
Sp ring 2014
14
fight for the sake of everybody’s good. His rebelWords sounded above the cradle
lion against reality is closely linked with enormous
Had been crossed out by – pain, bitterness, anger.
suffering and tragic personal experience. Gustaw,
Everything finished for ever
the figure addressed by a lyrical subject in Ihr’s
When blood – started.29
poem, seems to be someone who shares, in a way,
the same lot with the lyrical subject:
The second poem is devoted to the Hebrew lanI’d like to share a daily, bitter bread with you – guage, and it is a description of a “wandering” exA true word …26
istence in the diaspora. It is clearly linked with tradition, including religious tradition, and with the
Encouraging words that are meant to force Gust- memory of the Jewish past. Those links are emaw to leave his current form of existence – “Stand phasized by references to Rachel’s tomb, prayers
up. Go out, wandering shadow, from the props as well as to “the night of Canaan,” vineyards,
room. Everywhere is darkness and dullness. In camels, or “blue Yarkon.” The Hebrew language
puddles twinkle, empty as witchcraft, flat and sil- is described as a mother who is calling her wanver moons” 27 – are linked with an image of trans- dering children:
formation. Hence, the point of reference for the
And you, mother, call me – I hear, I hear –
lyrical subject is not the image of the romantic
Among Slavic gales’ groans
lover, but the figure of one who is able to express
Between households and silence of closed hearts
his suffering. There is also a particular hope that,
I walk, your homeless son …30
despite differences enumerated in the text, the
reader who gropes around will be led to a full ex- The juxtaposition of those two texts clearly shows
istence, will find his own place.
that the rejection of Polish Jewishness that was
In 1935 Daniel Ihr published in Opinia two caused by the painful experience of being an outpoems entitled “Do polskiej mowy” [“To the Pol- cast leads to a reinterpretation of one’s own tradiish Language”] (Opinia, No. 11/1935) and “Do tion. The time of longing for the Hebrew heritage
mowy hebrajskiej” [“To the Hebrew Language”] becomes also the time of hope for a new shape
(Opinia, No. 13/1935), which constitute a whole. of Jewish identity, hope for the new ability to exWhy do they constitute one whole? They both press oneself in the language that seemed to be
refer to the basic element of literature, which is only the holy language, the one that united only
language (it is worth mentioning that they both those who prayed:
were written in Polish). However, what is more
Gropely I walk through silence and twilight,
I know that you hold your bad son tight,
important is the fact that they both are closely
That lips get language, blinded eyes – sight,
connected with the lyrical subject’s identity and
You give them, the Hebrew language – the
its transformations. The first poem shows the lyronly mother.31
ical subject’s attachment to the Polish language,
which was spoken in his family home, in the most
intimate relations, in the experience of motherly Published in 1915, Appenszlak’s poem entitled
warmth, the language that was spoken by the pro- “Mowie polskiej” [“To the Polish Language”] is a
tagonist for years. That “language of the Vistula particular document that, on the one hand, gives
and lime tree” became an important element of evidence of enormous attachment to Polishness
identity and for expressing his feelings.28 The ex- and, on the other hand, expresses a recognition of
perience of rejection, deformation, and poisoned ideas in the Polish heritage that might also express
brotherly relations as well as evil aimed at the a Jewish sense of identity. Polish romantic ideas of
Other led not only to ignorance, but also to dis- rebellion and aspirations for independence are a
appointment and loss of love of the land that was clear inspiration, a model, a path that Jewish inhabiinhabited by various social groups:
tants of the European diaspora could follow:
The national project becomes more important
than belonging to the bourgeois – the class that
was mostly responsible for the modernization of
nineteenth-century society. In nineteeth-century
Europe, emancipation of different social groups
and debates on group identity, as well as activities
leading to the definition of the nation itself, had a
great impact on the appearance of the variant of
national identity presented in Appenszlak’s texts.
The Polish model in Appenszlak’s poem came
from a romantic way, Mickiewicz’s way, of creating
the community and, undoubtedly, was strength-
1
14
Chone Shmeruk, “Hebrew – Yiddish – Polish: A Trilingual Jewish
Culture,” in Yisrael Gutman, et al., eds., The Jews of Poland Between
Two World Wars (Hanover and London: University Press of New
England, 1989), pp. 285–311.
2
One of the first academic books devoted to Polish-Jewish literature was Polish-Jewish Literature in the Interwar Years as a Cultural
and Artistic Phenomenon, written by Eugenia Prokop-Janiec and published in 1992. Eugenia Prokop-Janiec also published a valuable and
extensive anthology of poetry (Międzywojenna poezja polsko-żydowska: Antologia [The Interwar Polish-Jewish Poetry: An Anthology]. During
the following years younger scholars also studied the Polish-Jewish
literary heritage. Their analyses have been collected in a joint publication, Pisarze polsko-żydowscy XX wieku: przybiliżenia [Polish-Jewish
Writers of the 20th Century: An Introduction], ed. M. Dabrowski and
A. Molisak (Warsaw, 2006), while works of well-known Jewish artists, such as Bruno Schulz, or those written by assimilators, such as
Julian Tuwim or Antoni Slonimski, have frequently been analyzed by
many scholars.
3
I think, with Benedict Anderson, that the decline of religious
bonds made conditions favorable for the appearance of different
bonds that defined the identity of social groups. From the last
decades of the eighteenth century, the idea of nation turned out
to be a longlasting bond. See Benedict Anderson, Imagined Communities: Reflections on the Origin and Spread of Nationalism (New
York, 2003).
4
Chwila was published in Polish. The leading article that I quote was
published in No. 273 (18 October 1919), p. 1.
5
Mieczyslaw Braun, “11. XI. 1929,” in Eugenia Prokop-Janiec, ed.,
Międzywojenna poezja polsko-żydowska, pp. 129–130. Translations of
all poems are philological: Polska twojemu sercu bliska/wstała wolna
ojczyzną twoją/niech sie dawne tęsknoty ukoją/stary Żydzie, nieznany z nazwiska.
6
Braun, “11.XI.1929” (Polska stanie się twą Ojczyzną/w dniu
powszechnej sprawiedliwości), p. 130.
7
Jakub Lewittes, in Prokop-Janiec, Międzywojenna poezja polsko-żydowska, pp. 226–227. (dziećmi jesteśmy/jednej-jedynej/i niepodzielnej).
8
An open letter written by Emile Zola to the President of the
French Republic, entitled “J’accuse!,” was published in 1898. The letter concerned not only Dreyfus, a Jewish French army officer who
was falsely accused of treason and sentenced but who was vindicated after his second trial, but also the state of French society and relations between civil authorities and the army, as well as the use of
antisemitism by nationalist right-wing parties.
9
J. Appenszlak, “Oskarżam!” (I accuse), in Almanach żydowski
(1918), pp. 125–130.
10
Appenszlak, “Oskarżam!,” p. 125.
11
Appenszlak, “Oskarżam!,” p. 127.
12
Appenszlak, “Oskarżam!,” p. 128.
13
Appenszlak, “Oskarżam!”
The Polish language! Made of Mickiewicz’s
storms and strong Norwid’s anger,
You rose into a church of freedom. And now
on the right hand-side of a Jew,
You are a sword of rebellion, a legion that
fights for other people’s matters.
Speaking you, the language, I voice my nation
rising.32
Hence, Polish is meant to be an opportunity to
voice a new idea, the idea of national revival. It
is the language that is meant to serve as a way of
shaping modern Jewish identity. Thanks to the visions of the Romantic poets – here, direct references to Norwid and Mickiewicz – Jewish aspirations for independence and longing for homeland
can also be expressed. In such a perspective the
power of the word turns out to be a creational
power that is inextricably linked with the Polish
language and culture.
The changes that the lyrical subject undergoes
and that have clear hallmarks of autobiography
are strongly linked with his upbringing framed in
terms of his Polish heritage, including a vision of
national revival:
Under the edifice of Poland I hold out the
dawn of my youth in a doze,
With cheapskates and the bourgeois hoi polloi,
until, in a coup
The war of nations – I saw the nation as the
holy aim.
And You, Poland, gives me the example how to
dig out the pre-spring.33
Appenszlak, “Oskarżam!”
Yankiel the Cymbalist – one of the main heroes in the national poem by Adam Mickiewicza, Pan Tadeusz. He is an example for
a diasporic Jew that Poland for him is the real fatherland. The best
known quotation of Yankiel the patriot is, “A decent Jew loves fatherland like a Pole.” Even today Yankiel symbolizes Jewish patriots
dedicated to Polish interests. Berek Yoselewitsch – (1764–1809), a
Jew, the main figure in the Polish historical struggle for independence. He participated in the Polish uprising in 1794. A colonel in the
Polish army and an officer in the Polish legion in Italy, he was killed
in the battle of Kock. Maria Janion presents an interesting illustration
of Yoselewitsch in the essay “A Jewish Colonel” in her book Bohater,
spisek, śmierć: Wykłady żydowskie (Warsaw, 2009).
16
Appenszlak, “Oskarżam!,” p. 128.
17
Appenszlak, “Oskarżam!,” p. 128.
18
Appenszlak, “Oskarżam!,” p. 129. Aleksander Swietochowski
(1849–1838) – a journalist, writer, historian, and philosopher. One of
the main figures of Warsaw positivism, a representative of Polish liberalism, a zealous rationalist, he was the spokesman of progress, education, and culture, and struggled for equal rights for women and Jews.
19
Appenszlak,“Oskarżam!,” p. 130. It should be added that by mentioning such names as Chaim Nachman Bialik and Icchok Lejb Peretz
Appenszlak clearly indicates great writers who were revivers of the
language (in Bialik’s case it was Hebrew and in Peretz’s case Yiddish).
20
Appenszlak, “Oskarżam!,” p. 130.
15
STANO MASAR: RUNNING
H U N DRE D YEARS OF EU ROPE – WAR AN D PEAC E
ened by a cult of romanticism that dominated Po- and far from dwelling on suffering were thought Jewish nation is the Zionist vision. His approach
land in the interwar period.
to be fulfilled in a battle in which the power of art to Zionism is more visible in his later publications.
In such a context the lyrical subject’s declara- would be the weapon:
It seems important, however, that his whole action of return to “the old cradle, to the ruins of the
Let’s sound the gong of Jewish art
tivity before the Holocaust was linked with PoTemple” is highly interesting, as the poem’s persoThe dregs of family and class
land – through the language and by the fact that
na describes his belonging to the nation of Israel,
Take up arms, my people, take up arms!
he lived in Poland as well as by the tasks he perbut at the same time, he expresses it in Polish. The
Jewish nation! It’s time! …34
formed there.
lyrical subject wants to use the power of Polish in
Appenszlak, as well as other Jewish poets who
order to make a significant change. That “Jew ed- The revival of the Jewish world was going to be wrote in Polish, can be claimed as a representucated in Poland” experiences Jewish identity by linked with both the rejection of a closed religious ative of a particular generation. His experiencfiltering it through the heritage of Polish Romanti- group and the rebellion against assimilation. The es and the evolution of his conduct during his
cism and the Polish language.
call to fight for national dignity resembles the vi- life were typical, which, as Renata Piatkowska reDreams of the revival of the Jewish world, of a sions of Polish romantic poets. Certainly Appensz- minds us, enabled Jakub Szacki to think up a
new life radically different from religious tradition lak in his texts emphasizes that the chance for a term, “Appenszlak’s generation,” which referred
to those who “on the Vistula banks dreamed
about Zion.” 35 Those dreams, however, were confronted by unpleasant reality, as at the turn of the
nineteenth and twentieth centuries antisemitism
increased and was gradually reinforced, not only
in Polish but also in European society. Numerous
Polish Jews who came from bourgeois families
or from the intelligentsia and who belonged to
“Appenszlak’s generation” were aware of the fact
that assimilation had proved a failure, and they
experienced an open conflict. According to Andrzej Zbikowski, who analyzed antisemitic texts
that played a vital role in the process of defining
Jews as the enemies of Polishness worse than
partitioners, the process of propagation of ideological antisemitism radically increased between
1905 and 1914. The propagation of antisemitism
was accompanied by the boycott of Jewish trade
(1912–1914).36 Other important factors that had
an impact on the attitudes of the members of “Appenszlak’s generation,” and which became popular among Central and Eastern European Jews,
were Zionist ideas and the project of cultural autonomy that was propagated by the Bund. Hence,
there were two innovative proposals for defining national identity that were in opposition to
assimilation.
The article first published in Shofar 29,
no. 3 (2011), has been reprinted by permission.
21
Appenszlak, “Oskarżam!,” p. 130.
See Michael A. Meyer, Jewish Identity in the Modern World (1990),
p. 50 and others.
23
Appenszlak, “Oskarżam!,” p. 130.
24
Eleazar Merchentraum, “Do Polski,” in E. Prokop-Janiec, Międzywojenna poezja polsko-żydowska, p. 102. (Lecz wiem, że smutną
miłość mą ku tobie/zazdrosne twoje dzieci mnie, jako przybysza,/
zdradzieckim ciosem gniewu złożą w czarnym grobie/i weźmie mnie
w objęcia nieba twego cisza.)
25
Daniel Ihr clearly refers to Adam Mickiewicz’s drama “Dziady”
[Forefathers’ Eve], especially to its third and fourth parts (so-called
Dresden Dziady, which were written after the failure of the November Insurrection). Not only the title, but also paraphrases of
Mickiewicz’s words indicate the direct reference.
26
Daniel Ihr, Do Gustawa [To Gustaw], in Prokop-Janiec, Międzywojenna poezja polsko-żydowska, p. 388. (Chcę się przełamać z tobą
zwykłym, gorzkim chlebem – /słowem prawdziwym …)
27
Prokop-Janiec, Międzywojenna poezja polsko-żydowskaI, p. 388.
(Powstań. Z rekwizytorni wyjdź cieniu błądzący/Ciemno wszędzie i
głucho. W kałużach migocą/puste jak gusła, płaskie i srebrne miesiące).
28
Daniel Ihr, Do polskiej mowy [To the Polish language], in: ProkopJaniec, Międzywojenna poezja polsko-żydowska, pp. 393–394.
29
Prokop-Janiec, Międzywojenna poezja polsko-żydowska, p. 394.
(Słowa dzwoniące nad kołyską/Przekreślił – ból, gorycz, gniew/
Skończyło się na zawsze wszystko./Gdy się zaczęła – krew.)
22
30
Daniel Ihr, Do mowy hebrajskiej [To the Hebrew Language], in żydowskiej gong dzwoni,/ Wyrzutków rodzin i klas,/Do broni, mój
Prokop-Janiec, Międzywojenna poezja polsko-żydowska, pp. 394– ludu, do broni!/ Narodzie żydowski! Już czas!)
395. (A ty mnie matko wołasz – słyszę, słyszę/Wśród wichrów jęk 35 Quoted in R. Piatkowska, Jakub Appenszlak jako współtwórca Żysłowiańskich,/Między domostw i serc zwartych ciszę/ Idę syn bez- dowskiego Towarzystwa Krzewienia Sztuk Pięknych [ Jakub Appenszlak
as a co-originator of the Jewish Society of Propagation the Fine Arts];
domny twój…)
31
Prokop-Janiec, Międzywojenna poezja polsko-żydowska, p. 396. the paper has not been published, but was given at the Conference
(Omackiem idę przez milczenie i mrok,/ Wiem, że do serca przytu- in Wrocław in 2007 and later read in manuscript. See also J. Szacki,
lisz złego syna,/Że ustom – słowa, ślepym oczom – wzrok/Dasz he- “Pokolenie Appenszlaka” (Appenszlak’s Generation), Nasza Trybuna/
brajska mowo – matko jedyna.) The poet invents words in Polish; the Our Tribune I, No. 9 (1951): 1–2.
translator therefore has invented the corresponding words in English 36 Zbikowski mentions mostly two texts, Separatyzm Żydów i jego
źródła [Separatism of the Jews and its Sources] by Roman Dmowski,
(“gropely,” and on p. 116 “pre-spring”).
32
Appenszlak, Mowie polskiej [To the Polish Language], in: Prokop- published in 1909, and Andrzej Niemojewski’s Skład i pochód piątego
Janiec, Prokop-Janiec, Międzywojenna poezja polsko-żydowska, p. 67. zaboru [Composition and Origin of the 5th Partition], published in
(Mowo polska! Z burz Mickiewicza, z twardego gniewu Norwida,/ 1911. There were many more similar publications. See A. Zbikowski,
Urosłaś w kościół wolności. A teraz w prawicy Żyda,/Tyś mieczem “Antysemityzm” [Anti-Semitism], in J. Tomaszewski, A. Zbikowski,
buntu, legionem walczącym dla cudzych spraw./Tobą, o mowo, dziś eds., Żydzi w Polsce: Leksykon [Jews in Poland. A Lexicon] (Warsaw,
2001), pp. 19–27.
głoszę narodu mego powstanie.)
33
Appenszlak, Mowie polskiej [To the Polish Language], in: ProkopJaniec, Prokop-Janiec, Międzywojenna poezja polsko-żydowska, p. 67.
(Pod gmachem Polski młodości ranek przetrwałem w drzemcie,/W
liczmanach tłuszczy mieszczańskiej, zanim w przewrocie/ Wojny
narodów – naród ujrzałem, jako najświętszy cel./I z Ciebie Polsko,
przykład mi płynie, jak odkopywać prazdroje.).
34
Appenszlak, Mowie polskiej [To the Polish Language], in ProkopJaniec, Międzywojenna poezja polsko-żydowska, p. 68. (Niech sztuki
15
H u n g a r i a n
L e t t r e
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S p e c i a l
E n g l i s h
E d i t i o n
Sp ring 2014
© MACIEJ ŚMIAROWSKI
I G O R O S TAC H O W I C Z
Night of the Living Jews security guards coming our way. Well, yes, it’s not their fault, I justify them
mentally – Arkadia isn’t for tramps and scruffs, their job is to throw those
people out of here, and Rachel happens to look the way she looks. So they
come up and inform us that this lady must leave, because she’s upsetting the
other customers, and they’re going to escort her to the exit.
“But why?” said Skinny, with a note of hysteria in her voice.
“Because she’s upsetting the other customers,” they repeated their stock reply.
“This lady has paid for her ice cream and she has a right to finish eating
it,” I remarked in a tone only mildly spiced with adrenaline. In theory it was
a good idea, but the ice cream was almost entirely gone, which one of them
pointed out with a stubby finger.
“Good grief!” exclaimed Chirico very loud. “Excuse me, but do we look
like hooligans?”
“You don’t, but this lady…” he said, pointing at Rachel, “…is upsetting the
other customers.”
“But this lady is a girl guide from a historical reconstruction group! Only
an hour ago she was at the state commemorations! She shook hands with the
Lady Mayoress, and now you want to throw her out?”
At that they were rather bewildered. That Chirico’s really smart.
“It’ll be a terrible scandal,” I added. “Not just you, but your boss’ll have to
explain himself to the media too.”
“I’ll just go and get changed, I don’t want to upset anyone,” said Rachel
with a sad look on her face.
What a good actress – she immediately sensed what that was about,
I thought in admiration, and at once realised she must have had to pull
off some tougher tricks than that one in the days when she’d been in hiding. One of the security guards went off for a brief consultation over his
walkie-talkie.
“All right, we’re sorry.” He even managed to force a crooked smile. “But once
you’ve eaten your ice cream,” he said, glancing meaningfully at the empty cup,
“please go and change – we have to look after our customers’ welfare.”
And they were gone.
(excerpt from a novel)
TRANSLATED BY ANTONIA LLOYD-JONES
(COURTESY OF THE POLISH BOOK INSTITUTE)
STANO MASAR: FREE END
16
We started with ice cream – I thought corpses didn’t eat, but they do; only
Skinny just had a Diet Coke, while the rest of us had a large portion each.
“So how does this deal work?” asked Chirico, shooting straight from the
hip. Skinny tried to kick her under the table, but there was no need, because
Rachel answered for herself, with a slight shrug, the way children talk about
their parents’ fancy ideas.
“They’ve got to do something to make me smile.”
Chirico pondered this remark.
“So what’s the point? Some sort of obligation to smile? Why should you
have to smile?”
Rachel gave a deep sigh and stared into her ice-cream cup, aimlessly
poking the long spoon into it. “Daddy would like me to go to heaven, but at
the entrance you’re supposed to smile, and I can’t do it. Because of me he’s
stuck too.”
“And what about the others, that whole underground city?” I cut in. “What
are they still doing here?”
“It varies. The only people who are left under Warsaw are the ones who’ve
got something wrong – most of them are in shock. They can’t pull themselves together, some of them are angry with God and refuse to take another step forwards, some are horribly afraid they’ll never understand it all, or
even worse, that they’ll have to be forgiving. There are also some people
who worked for the police or were in the Sonderkommando – those ones
have yet other reasons, but either way, they’re all stuck here. They’re waiting
for some time to go by, and once you’re dead time passes in a different way.
My father is quite a different story – he’s a tough guy, he’s not in shock at all,
he was in the Jewish Uprising, then the Polish one, and everyone respects
him. He just stayed behind for my sake, because he doesn’t want to leave me
here on my own.”
As I listened to Rachel, I became more and more convinced that something inevitable was going on. She explained that our troubles were occurring because something strange had happened, and lots of the dead people
had been woken up – hardly anyone had been able to lie in peace in the
earth for the past few days, they were all fidgeting, tossing and turning
like somebody who can’t get to sleep. The most badly warped of them had
formed a group. This lot had taken a fancy to the idea of liquidating anyone
they didn’t like. They had seen the people they had once loved being exterminated, so now they wanted to see the extermination of everyone they
didn’t like. It was all starting to fit together in my mind. The fear came back
to me that I had felt while I was down in the underground, and there was
nothing I could do to restrain it – there were evil thoughts seething away in
thousands of minds, both living and dead, and even if I were yet more indifferent than I already am by nature, and by the strength of my convictions,
I was just as likely to cop it as anyone else, so I came up in goose bumps,
though maybe it was the ice cream, plus the A/C.
“And there’s magic too,” Rachel went on. “Something’s been disturbed, the
order’s been upset, it feels as if an immense force could end up in evil hands.”
“But why aren’t you smiling now, Rachel?” said Chirico, who liked the story,
but on whom it hadn’t made a major impression, because one, she hadn’t
been down in the cellar, and two, those weren’t the sort of films she downloaded off the Internet. “You’ve had some ice cream and it’s great here in Arkadia. I always smile when I come in here.”
Rachel winced slightly.
“Because they’re giving me strange looks.” She was right. The customers
at other tables were glancing at her with disgust, worse yet, the staff were
staring at her with indignation and a sense of duty, and then finally I saw two
H U N DRE D YEARS OF EU ROPE – WAR AN D PEAC E
A N D R Á S F O R G ÁC H
Zehuze
In this excerpt from the novel of the same name, a Hungarian-Israeli mother
addresses her daughter in Europe in a letter she never sends. Her monologue,
covering a span of several years, alternates between family news and reports
of daily life in postwar Israel. Forgách brilliantly captures the complexity of
her attitudes towards the new Jewish immigrants, with whom she sympathizes but to whom she feels, as prewar settler, socially superior. While she realizes the newcomers are victims of an experience too hellish for her to imagine,
her distaste for the burgeoning Zionist movement confuses her moral sense.
Meanwhile, her faith in Stalin and the „cause” has an absolutism that sits uncomfortably alongside her sentimentality.
...of course when your Dad did come, he disembarked from the ship and was
amazed that the Old Testament Jews here were the Bedouin, in their fabulous
robes, their cheeks burnt to charcoal, this young trainee rabbi, they have been
scorching under the sun for a thousand years, well of course, but even so we
were here first, the Bible says so, we were here before everyone else, there was
as yet nothing, but we were already here, let those who came along afterwards
perish, it’s there in the Tanach, for a handful of glass beads ten thousand
dunam, furlongs or whatever, the Arabs play for va banque, all or nothing, us
too, only more cannily, of course everyone denies it, every day the Jewish Agency issues irrefutable refutations, though it’s also true that we then really cannot
work, you too planted a marvellous plane tree on Rothschild Boulevard, it
gives superb shade, Dad and I stood under it on coming out of the cinema the
other day, we couldn’t go any further, guess what a terrible stroke of back luck
I had, I found a little sewing set that I intended for you, the case of claret-coloured morocco leather, a dream, it has a clasp with a gold chain, it would
also serve well as a purse, and one could even keep photos in it, specifically
made for travelling, there’s a pyramid impressed on it, a Sphinx, I bought it in
the bazaar, I’m burning with rage, seven reels of thread, ten needles, two little
Swiss scissors, one nail clipper, a gilded thimble, I feel like tossing the whole
thing in the bin, it’s not enough that you’re leaving, believe me, it’s hard for a
birth-mother, though I never was a good mother to you, I was selfish, frightfully so, but how can it be that while my heart feels heavy as a millstone I was also
enormously relieved, because I feel sure that things there will be much better
for both of you in the People’s Republic, Robbie never found his feet here, and
then he flares up at everything, he’s too anti-everything, he has no patience, he
doesn’t want to go back to Romania, of course, not one of his folks is left there,
so don’t you dare ask permission to come back, the only reason we’re staying
is because to move house twice is rather tricky at this age, one will just have to
stick it out, and see how industrious your mother is, follow my example, you
haven’t so much as set foot outside this place and I’m already sitting at my table,
which is a marvel in itself, that I’m able to sit upon my bottom, that I have time
and still have a bottom! and that I can draw breath in this heat, it’s a warm May,
like a blast furnace, the fan isn’t worth a plugged nickel, it just whirrs away in
the corner of the room, it’s enough to shatter the ears, it doesn’t allow any sleep,
and the air doesn’t stir an inch, the wobbly table’s leg is rocking, the pen is ripping the paper, my eyes are hurting, not that that’s stopping me from writing,
with my blood pressure who knows where, there you are, the paper is so thin,
airmail paper, blue, I can’t even see the letters I’m writing, I’m furious, but if
you were to ask Hannah, she would say the same, get as far away from here as
possible, once she’s finished school she, too, is going to look for a new homeland, today I’ve been run off my feet, that’s nonsense of course, I rushed
around like the lowliest maid on the estate to the comrades and the occupying
force, into the Party office, out of the Party office, put a good face upon it, a
permit for this, a permit for that, begging, keep smiling just because a few Jew-
ish mums are looking to make a charity business in these times of war, to lay
out the goods and organise a collection, running around in the blazing sun, my
tongue hanging out, I don’t have a horse, not even a miserable dromedary, only
the cockroaches in the kitchen, I won’t sit down on them, or on a broom handle either, transport here is lousy, rank, the rattletraps they have for buses
shake the living daylights out of one, and I know I have a soul because by the
evening there’s none left, I’m just a puddle of heat and dirt there’s not a shadow in the street by the evening my skin is as scaly as a crocodile’s, what they
ought to write on those rattletraps is All hope abandon, ye who board here, it
hasn’t got any better since yesterday, if anything worse, because, and mark this
well, something can always be worse than it is, zehuze, that’s how it is, if a bus
comes, then I can’t get on it, people from behind push me aside, and if it
doesn’t come, then one has to wait forever, and it is preferable to go home rather than spend one’s non-existent money on a taxi, they’re all sharks, all drivers,
but even if I do manage to get on and I’m not immediately crushed to death,
then you can be sure the bus will break down somewhere at the back of beyond where I have no business, on the far side of town in Cholon, or what do
I know? in an industrial area, or everyone has to get out at the point of a machinegun, the Brits nowadays being not at all the gentlemen they were during
the war, they’re nervous now, because of course all the Jewish terrorists who
are operating at present got their training from them in the great milhama,1
and they’re all offended since they liberated us from Nazi rule out of the goodness of their hearts, and this is our way of repaying them, the milhama isn’t
over for a second and already they’ve become the enemy, our lot picks up British iron logic, and now the Brits are frisking people in public on every street
corner, and you have to produce your tattered papers six times to ID yourself
wherever you go, they check whether you have a hand grenade under your
armpit, or a Molotov cocktail up your backside, they’re even shameless enough
to grope about under the skirts of one’s little girl, well just let them grope, I say,
I have nothing to be ashamed of, old crone that I am, but I can’t complain, let
there be peace, anything is better than war or civil war, there’s been enough
milhama, but now tensions are high ever since we blew up the King David
Hotel in Jerusalem and seventy or more died on the spot there’s no tranquillity,
but anything can happen, Dad does not even allow me to say they blew it up,
we always have to say we blew it up, even if we don’t agree with it at all, in fact
hate what our terrorists are up to, because they murder cheat steal without
mercy, but Dad says that they too are what we are, I don’t argue with him,
I leave him be, that’s his way of thinking, nice of him, because it makes us both
the murderers and the victims, too, one can get one’s fingers burned on that
sort of mentality, says he, but he doesn’t know any better because it’s still better
than if, than if, I don’t know now what it was he said, better than what? this
whole prayer wheel that has been going on here for thirty years, round and
round, either they’re doing the blowing up or it’s us, either they’re the murderers or we are, there is no air to breathe but we still have to live here, all I ask is
that if you reply, my little girl, you too put down everything, but everything,
that you see, that you are feeling, even your most secret thoughts, no beating
about the bush, you know that there’s no need to fudge issues with your mother, nuku hadova, as your grandfather, that wise old Solomon, used to say,
Hannah, the little minx, has at last moved in with Norbert, she doesn’t listen to
me or to her father, who is putty in her hands, well, that’s just as Hannah likes,
she loves to tease her Dad, no doubt she wants a child, God bless them both,
Norbert’s a fine lad, only too old, and German, and a genius, but then if that
semi-Nazi von Braun, the jeke2 rocket engineer, can marry his 18-year-old niece,
it seems that’s the fashion, old goats gag for a tasty bit of young flesh, and
meat’s not to be had anywhere, bread not even for coupons, or cloth on the
17
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E d i t i o n
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18
black market, fruit has to be literally stolen, one has to haggle for eggs as if they
were made of gold, and if you’re brought a single orange from a kibbutz, that
now counts as a huge gift, we’re like monkeys, living on seeds, though of
course if you look at the ads in the newspapers you’d think this was the land
of Canaan itself, because there are rich folks, and how!, who summer on the
Côte d’Azur then, when they get back, shoot their mouths off just like before,
there’s no shortage of events here, as usual there’s something happening by
the minute, no room to get bored, either they’re expelling someone from the
Party, or shooting someone else in broad daylight, your best friend emigrates,
you have a bust-up with the other one that will last a lifetime, your relatives disown you and would gladly spit on you, one is blowing one’s top even though
one ought to be watching the blood pressure, Dad has forbidden all talk about
politics at home, but he’s always the first to start, because everyone here has
gone crazy, everyone has gone crazy, and he repeats everything twice over,
everything twice over, has two shots, two shots, instead of using his brain for
once, here everyone is soft in the head, and not just the English, who never
learn anything and never forget anything, but the poor dim-witted Arabs, the
Jews too, I would take sides with my own kind, even the animals do that, but
sadly I’m not enough of a patriot, patriotism is not in fashion in our family, well
of course the Jews, too, are dim-witted, because they think they’re so clever,
and it’s better I say nothing about the new Hungarians here, what do we have
here, what kind of rabble do we have here, especially now, the ones who aliyahed 3 after the war, what a mixed bunch, how greedy, how money-grubbing,
they thought this was the land flowing with milk and honey, they fell for all the
humbug, now they can go and break stones or shoot, there are some decent
people among them, to tell the truth, and some of them who went through the
bottomless depths of hell, and do you know what I’ve come to realise?, the fact
that someone has been to hell and back is not enough to guarantee that he
will be a better person for it, in some cases he may be worse as a person, in
others he may be an angel, but nothing is for sure, that’s how it goes, zehuze,
I don’t know where the key to what makes people tick is hidden, everyone is
what they are, zehuze, but then who am I to talk, people give me such odd
looks, even though I’m right, with those martyr faces, it’s enough to make my
blood boil, but I was here and they were there, the tattooed number on their
forearm, it’s horrific even to think about, there’s nothing one can do about it
here, I can’t change things now, that’s life, zehuze, if I only knew your whereabouts now, but not a word, nothing, from you, you really might have sent a
postcard from Alexandria! Alexandria means my youth! a week has gone by
before I could get round to carrying on writing this letter, three times a day
I hare down to the letter box, and it’s quite senseless, because the postman
would bring it up if there was anything, I can’t breathe, he’s a brick, he’s snubnosed and he stutters, he has a cute, fluff-covered face, and of course it has occurred to me, silly goose that I am, that I have no idea where to send this letter,
I keep on writing and writing, to Bosnia or Budapest or Prague or the Balearics,
poste restante, poste restante in Europe somewhere, as it is it’s just like talking
to myself, if I think about it, yesterday ³only² three people died, according to
the newspaper, but then one can’t believe what one reads in newspapers,
everyone writes to suit their own taste, it seems there’s not just one but two
sides, the Stern gang have robbed another bank, do you know that Irgun has
also claimed responsibility for the British embassy in Rome? but of course who
thought any different? sheer terrorism, one has to kill, Lenin said, the end justifies the means, but isn’t it all the same why one kills, it would be best not to
have to kill, and of course someone got stabbed in the Old Town, young boys
dress in women’s clothes, a kitchen knife in their hands, they’ll slit anyone’s
throat, or out of patriotism, that kind of patriotism is very much in demand
now, blood-stained patriotism, or because they’re thirsting for half a farthing,
Dad says that Flavius already wrote about this, he even read the bit out, it’s
dreadful how everything repeats itself, hotheads, the vengeful, fanatics, they
don’t believe in anything, on top of which the good old Grand Mufti talks utter
rot, now there’s someone who really should get lost, he’s had a screw loose
since‚ 26 of course, fanning passions ever since, he doesn’t dare show his face
round here, he sends word from Cairo, as far as he’s concerned even the Nazis
were fairly decent when it came to settling scores with us, the poor fellahin, the
have-nots who have become outlaws overnight and are now not even allowed
to work, let alone be given some land, they are starting to kill, a life isn’t worth
a plugged nickel, pure Wild West, then all those demobbed soldiers who don’t
want to go home, Polacks, Eyeties, so there’s no way of knowing who shot
whom, but what that car bomb did on Ben Yehudah Street was truly appalling,
two British deserters to make it worse, 52 dead, and all because a Jewish lad is
supposed to have seduced the fiancée of one of them, in the middle of the
night, and the Brits do the only thing they know, the streets everywhere are
closed down, barbed wire everywhere, they’ve completely barbed-wired themselves in, they live in terror of Molotov cocktails, their troops are confined to
barracks lest they go over to either side, one this way the other that, the one
because he’s fallen in love with a Jewish girl or because he’s a born anti-Semite,
a triple ring of barbed wire around every office, with a tank and a sentry out in
front, the sun may be blazing but a true Englishman never develops a suntan,
his freckled face just turns red as a lobster, they deserve it too, the crown of
civilisation, the British Empire, the whole Mandate can go to hell, along with
its dual obligation, Churchill did a good job of bungling on this as well, it’s said
that he’s so bored he paints landscapes, I find that hard to believe, a landscape
painter doesn’t lie, Hitler also liked to paint, ever since he ceased to be the
prime minister he’s been swigging non-stop, not that there aren’t a few decent
people among the British, handsome clean-shaven types, not smelly, they’re
always having a wash, frightfully polite, but when they’re in a funk they, too, are
all too trigger-happy, and bullets aren’t choosy about who they hit, some chicken thief gets shot dead every day, but if they were to withdraw from here, like
rats leaving a sinking ship, then what’s that going to leave in its place? it’s awful
just thinking about it, a great vacuum, a hole with holes in it, even the hole is
leaking, nationalism is poison, everyone against everyone, of course we hope
for the best, but that lot don’t let you pass even with the right papers, travelling
between towns can take hours, you can’t go from one village to the next, the
right papers are just as suspect as false ones, there’s a complete news blackout
and a complete blockade of the country, there’s no post anyway, so this letter
will just be, I keep on writing and writing, not sending it off, it may be weeks
before I post it, I’m feeling kind of restless and helpless, letter-writing calms me
to some degree, and much as I’m glad that you’ve set off at last, happy as I am
that you’ve got away from here, my heart still aches, I don’t know myself what
is the matter with me, because I’m not so old as to think that we shall never
meet again in this stinking prole life, I don’t feel old, not I, nor am I old, have
you any idea how many men still lick their chops on seeing me, only today a
good-looking young fellow comes up to me in the store and says he knows me
from somewhere, and of course how would he? I just smiled and turned crimson, I reckon, blushing like a debutante, but nothing can come of it, your Dad
is everything, I’ve fallen in love with him all over again, only my children happen to have grown up, that is the course of nature, and with you going away
like you have, my darling daughter, I’m somehow left like a Moldavian Jew and
his fur cap, damned if I have it, damned if I don’t, so happy as I am that you
have finally made up your mind, it pains me just as much, pains this hard, evil,
heartlessly selfish mother’s heart of mine, because the cause is all that interests
me, the family takes second place, and then I’ve adopted so many girls and
driven my own daughters away, that’s what the evil tongues wag, and maybe
they’re right, though not really, I reckon everything I did with all of you was for
the best, but obviously my heyday is coming to an end now that you’re fleeing
the coop, and that’s what I’m sensible of, that’s why my heart is hammering,
Dad is already asleep but I can’t, I came out here and lit a candle, but I can’t
read, because there’s a total blackout, I don’t want the house being searched,
but up to now I’ve been twisting and turning, the interests of the working class
are of no interest to me, the proletariat of the world is of no interest to me, or
the radiant future, just one thing is of interest to me: how you and Hannah are,
that my two daughters should be happy, now a big lump has been broken off
my heart, I hate being sentimental, at your wedding in ‚46, at Hanukkah, it’s
curious that I didn’t yet feel it, with you sitting there, the veil over your head
and in your white embroidered dress, and you smiled, the light fell on you like
a diamond crown with that amazing apple-cheeked smile of yours brightening
everything, in front of the splendid sideboard over which I am so envious of
Rebecca, it was possible to glimpse at the sun, but not at you
1952
it may be something you and Hannah have agreed on, that now you are expecting you’re turning grey as well, jakirati,4 before you have truly lived, jakirati, my
darling little daughter, what’s the need for a third? I can understand Hannah,
with her only just having married Dmitri, love is still a new thing, ahava hadasha,5 they’re ardent, billing and cooing, a child is needed to cement the link
H U N DRE D YEARS OF EU ROPE – WAR AN D PEAC E
more firmly, it’s a joy just looking at them, it doesn’t matter that it’s 76 steps,
Hannah all but flies up to the fifth floor, she daydreams about a house with a
garden where every morning she will pick fresh latte off a banana tree, bearing
in mind the housing situation here, that day will never come, though Hannah’s
very self-willed, the world may be a dreadful place, but people find it easier
to put up with misfortunes if they are easy at heart and they have plans, that
scallywag Dmitri may turn out to be a big chameleon, time will tell, I’m always
telling him that if I got a pinch of paprika each time his hackles are raised, I’d
never run short, angry people are frank, their anger shows on the tip of their
nose, the Arabs say, I miss the Szeged air tremendously, the River Tisza at dawn,
no matter, as they say there the big ball will be in Szeged, but only if it doesn’t
rain, if it does, it won’t, and if it doesn’t, it will, when I catch the fragrance of
that finely milled red paprika that I keep in a linen bag right at the back of the
shelf, then all the smells come flooding back to me, like for you oranges and
the fragrance of cedars in the heat, and cardomom, halva, hoummus and the
earth redolent of baking oleander that you can never enjoy because you developed that fever when you slept in the hay, and freshly picked figs, olives and gefilte fish with onion, and pomegranate trees and groves of gnarled olive trees.
That Dmitri, by the way, is an upstanding, straight dealing boy, if only it
weren’t for those uncontrolled temper tantrums of his, that Russian accent he
has just kills me, that’s how I can get him really annoyed, those two languages, Hebrew and Russian, are like two wrestlers, with one minute the Russian
flooring the Hebrew, the next minute the Hebrew the Russian, some of our
politicians came out when the tsar, the Little Father, was still on the throne,
but they too weep for his return, in their opinion Stalin is even worse than
the tsars ever were, which is nonsense, if you think about the pogroms, a
reactionary thought, I don’t even wish to waste words on it when the equal
rights of Soviet citizens in everything is common knowledge, they no longer
have to confront the spectre of assimilation, admittedly the Soviet Union isn’t
exactly backward about coming forward with its opinions when it comes to
Zionism worming its way into everything, we’re only too well aware of the
curse of chauvinism and what it leads to, Dmitri hates it if I say noo shto?
gavarish parusskie? 6 that’s all I can manage, unfortunately, maybe I’ll have
a crack at it, so that I can read the works of Stalin in the original, if only it
weren’t for that Cyrillic lettering, it was quite enough boning up on Hebrew,
ever since then I only scuff the paper with those printed letters, even though
Father was most particular about his Alephbeta to make it easy for the kids,
haikari, the main thing is that this time Dmitri really has taken a shine to
Hannah, 3 goes at it he had to no avail, three is the Hungarian number for
the truth, he has brains, he waited until all the dirty rivals had fallen by the
wayside, one encore and our Hannah bloomed like the cactus that only
flowers for a couple of days, but then it is heart-wrenchingly splendid, like
a butterfly fluttering among the prickly thorns, one mustn’t lay a finger on
it, just marvel, Hannah is proud, awfully proud, unfortunately she immediately turns any trouble into an illness, she of all people, who knows so much
about the psychological cause of every disease, now she’s walking four inches above the ground, she’s lovely as Cleopatra, it reminds me of the photographs that we had made, the three of us, in Tel Aviv, at Derkowitz’s.
When we three, Hannah, you and I, went to make photographs at Allenby
Street the day we heard the news on the radio about the siege of Stalingrad,
the D-Day landings in Normandy, and the Arabs were cringing, the embers
were smouldering under the ashes, casting off any pretence at humanity, the
English sent the Jewish refugees back to certain death, a few Arab insurgents
were executed, yet for a few moments the idyll nevertheless broke out in Tel
Aviv, the wildest idyll at a time of the gentlest carnage, we went around arm in
arm right along Bograshov Street, an overpowering fragrance of jasmine simply flooded out from the gardens, making our way in that concentrated scent
was like swimming underwater, three women, a mother and her two daughters, you were going to study nursing in Beirut, because the world needed
nurses, how pretty you are in your crisp white nurse’s uniform, standing between your teachers, at the time you graduated, in that cypress-fringed garden overlooking the sea, like a sugar lump, the sun was dazzling, the trees
were casting shadows, you two were laughing about something I didn’t understand, there were times when you and Hannah could laugh so wildly that
it hurt, my gosh, but how pretty you are in the picture! two radiant stars, two
beauty queens, you with your piled-up chestnut hair, which the British wrote
down as blonde in your passport, where on earth were they looking? and
out of the three of us only you are smiling like the colour of water quivering
delicately in the dawn, your hair a crown with tight braids round it, you’re a
queen with that apple-cheeked smile of yours, a juicy peach, in that low-cut,
short-sleeved black dress, you in black, Hannah in white, me under you, scarf
round my head, looking into the distance like into the past, my head over
your heart, behind me eternally brooding Hannah in that lily-white blouse
of hers, do you remember it? dear Mama sewed it, I embroidered a line of
pomegranates all round the collar, blood-red pomegranates bordered with
green leaves, you three, your Dad said proudly, as if we were all the same age.
That was how Dad flirted, though you were the one he adored, mother
and daughters, that flatterer said, actually sisters, he only fell in love with me
again because I gave birth to you, how proud he was to hold you up to the
world, a startled infant with her eyes shut tight, sitting on a chair, there in the
photo, in the Old City, sitting on a bentwood chair in the street, a pram next
to it, a young Dad standing guard over your dreams, but 20 years later, each
of us in the picture looking in different directions, three of us in three different directions, not one at the camera: you, brimming with confidence, like a
wheat field, gently swaying in the breeze, floating like the moon in the sky, or
the rising sun that before long will be shining full-blaze, me below you, head
to one side, as if I had just been lightly slapped, and Hannah music personified, as if she weren’t even there, brooding so sweetly, like a fawn ready to
dart back into the trees, a gazelle vanishing behind rocks, a distant melody
that is barely breathed and carries on resonating within us as if it were grieving, though there’s no knowing for what, a perennial air of melancholy on her
face, and tranquillity, too, a stillness of the abyss, how strange that she should
be the most melancholy among us, who, if necessary, will leap up and hare
over to the far side of town for medicine, meat, a book, a letter, for the most
utterly trivial bits and bobs, even forgetting all about her injured leg, her temperature, her runny nose, runs, and runs and runs and yet she is the pillar.
You are going away, leaving me, up to Lebanon, to the North, in a truck
with a tarpaulin, it was wartime all the same, there were several people with
guns as passengers on the lorry, but when that photo was taken Derkowitz
whisked it straight into the shop window, the whole world flocked to admire
it, you two gave me back my beauty one last time, the three Graces, Dad said,
the big fibber, yet my mood today is much better, for some reason, the sun has
peeped out from behind the clouds, January is over and it is no longer pouring
with rain, the tomatoes are ripening, the deluge is over, they say the harvest
is going to be good this year, as you know that decides everything here, the
tomatoes here are like the stock markets elsewhere, so let’s enjoy it, spring is
here, it doesn’t matter that I’m the experienced wife of a canteen proprietor,
a Mother Courage with heart disease, I’m dreadfully worried about Hannah,
now she’s approaching childbirth again, and you too, like she was almost crippled with Shulie, not so much by giving birth, the doctors could only shake
their heads, wrinkle their brows, the quacks, our Hannah too almost bled to
death, I didn’t dare write this before, little Shulie’s smile was what cured her,
her womb, Hannah said, but in the end even that dope Norbert cleared off,
there are no more threats or secret messages or reports to the police, no stranglings on street corners or shabby Party resolutions, Othello fell on his sword
and didn’t strangle Desdemona, let’s hope he doesn’t make good on his threat
to kidnap his daughter, the thing with you and Robbie is completely different,
you are comrades and friends, through thick or thin, and if Robbie is up in
the air and has dropped out of favour for a while, and you get up at 5 o’clock
in the morning to go across to the other side of town, to that draughty monastery or the factory, then there’s a Party meeting late in the afternoon at MOM,
then in the evening a residents’ meeting in the stairwell, if you carry on like
this, there’ll be nothing of you left over for us, just a gnawed bone.
TRANSLATED BY TIM WILKINSON
(excerpt from the novel first published in eurozine)
1
2
3
4
5
6
Milhama = war (Hebrew).
Jeke = Kraut, German (Yiddish).
Aliyah = ‚ascent’ in Hebrew and hence the immigration of Jews to Israel.
Jakirati = darling, dearest (Hebrew).
Ahava hadasha = new love (Hebrew).
What was that? Do you speak Russian?
19
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K AT E Ř I N A T U Č K O VÁ
The Expulsion of Gerta Schnirch
20
Prologue
The edge of the rough road is crumbling into the ditch. The grass is growing
through the gravel, the stroller’s wheels jumping over the stones. A moment
ago, her left foot had slipped on the slimy gravel. Her ankle is dull with pain;
she must have strained a ligament. She tries not to put her whole weight on
her foot. For several hours they have been walking slowly, just crawling, with
strollers right next to each other, supporting each other from time to time,
taking turns pushing. The road had been hardly visible for a long time now.
Only now and then the light from torches or trucks would reach them, but
then they clung together even tighter, sped up their tempo and covered the
children with a coat hanging over the stroller.
She cannot guess exactly how long they have been walking. As though
their journey had lasted centuries. Dawn is far ahead, though, so it could not
have been more than a couple of hours. She is tired and so is her companion.
Should she try to stop and rest?
A number of times they were passing by people sitting on the ground or
on the suitcase they had been dragging with them. And a number of times
they also saw a young man run toward them who cracked their skull with the
barrel of his gun. She was scared to stop. She pushed herself to keep walking,
despite the pain in her groin and left foot.
A girl next to her was whispering about thirst.
Gerta said nothing. She had water hidden for herself and for the child,
and she could not offer when she did not know what awaited her. Even she
was thirsty, but she kept quiet and continued dragging herself step by step,
to God knows where.
God? She had stopped trusting him a long time ago. She used to pray to
him, asking him for help, to do something. Anything that would change her
life. Then she understood that God would not do this for her. But it was already too late.
Since then she hadn’t prayed and did not think about God. She wanted to
rely on herself even in moments such as this one. Not even God knows where
they are herding her; only these furious young boys know, and maybe even
they don’t know. Such immature kids they are. She was suffocating with anger,
their voices would reach her and get lost in the shouting of people in front of
her. A couple of times she caught a glance of them on the tops of the passing
cars. With their guns in the air they resembled the head of Medusa with its
tangled hair of snakes. A snorting, angry Medusa, a killer with the evil, drunken gullet of a mob. Look at them and you will die. You will turn to stone or
they will shoot you. She hated them, but that was all she could do. Only hate.
And above all, not to let it show if she wanted to survive. She walked humbly
next to her guide and kept quiet. The night was sliding into a grayish morning,
and a procession of silent, tired people stretched around her. Their steps, the
rustling of their winter coats and words uttered under their breath were interrupted only by the shouting of the guards, the cries of the wounded and now
and then by shots. How many, Greta was unable to count.
Where did the terror start? In the moment when the flowers were falling
on the bottom of mother’s grave everyone could sense it, everyone knew already. Even father was uneasy despite still blindly believing.
When Gerta looked at him askance, she saw his effort, how he was straining all his facial muscles, how he bulged his eyes and hid them again by repetitive blinking, how he tried not to cry. But he should, Gerta thought, he
should cry, throw the dirt from mother’s grave on the bald top of his skull,
from which the last blond hair was receding, he should smear it on his face,
he should let it mix with his tears and above all he should call for forgiveness.
That’s what he should do. Not showing off in a uniform like a strutting pigeon
and in honorary position following mother’s coffin as it disappears under the
clods of dirt. Don’t throw her down there, stop it! Gerta wanted to shout but
Friedrich stopped her gesture. He squeezed her arm so hard that she got
scared. Friedrich is not crying either? How could he, the spitting image of
their father. Gerta looked again in the deep hole from which here and there
a dark grey coffin was visible. The funeral was modest. But, really, it did not
begin with the funeral. The funeral, that was only one part in a chain of catastrophes that would come every month, every year, through the whole war.
And life before the war was so beautiful. Not only hers – also Friedrich’s,
father’s and mother’s, Janine’s and Karl’s, all their lives had had a sense and
order, they were unfolding together, in unity, into the future, one whose contours Gerta envisioned in detail. In the winter of 1942 when mother disappeared under the Schnirch tombstone, the image of the future had begun to
fall apart. The last certainty was stomped out on Corpus Christi in the year
1945. But this was preceded by many events.
II
The war was long. It began unnoticeably, without Gerta realizing, and it
spread until it entered all corners of their life. It began with the cancellation of Mr. Kmenta’s course and continued to crawl to their home, directly in their kitchen, where father laughed reading papers out loud, how they
chased a naked Jew out of Café Esplanade so fast that he broke his neck at
the bottom of the stairs. Mother started to cry then from such an undignified end to a human life. These moments did not go without shouting, just as
when she gave a half a liter of milk to Mrs. Goldstein from next door, because
she hadn’t managed to do her groceries in the hours designated for Jews. At
the time Gerta thought that these were catastrophes of their household, an
earthquake taking place within the walls of their apartment, threatening the
calm between parents. She prayed in her room so that Mrs. Goldstein might
not come to see them when she needed milk again, she prayed so that mother would not soften at the sight of little Hana with her big dark eyes like
first cracked chestnuts whom Mrs. Goldstein held in her arms. Or she prayed
so that people would not sit around on the sidewalks with buggies filled
with furniture, always causing sadness in mother’s face. Just like every meeting with Mrs. Kocurová from the house next door, whose son Jirka, people
say, shot himself because ‘they’ betrayed us. Gerta did not understand then
why father sent mother in the bedroom while he explained it to a shocked
Friedrich who had lost his classmate. He diffused any of his doubts with one
word. He said: cowards. And Friedrich, father’s Arian pride, their little Friedrich understood it, as always. Nothing could stand between him and father.
And that’s how the war kept coming little by little, while Gerta tried to
resist letting the changes into her life. Except Janine, whom she offered her
own room when hers was taken by relatives expelled from Frývaldov.
– They had to run away from people like you, Janine explained, quietly
looking down and refusing Gerta’s offer, not even telling her how they talked
about the Schnirch’s at that time. Gerta shook her head as though she did
not understand, she didn’t know whom she meant, people like them. She
had always been like Janine. She took drawing courses, she was preparing for
high school and rather than pictures of Hitler in the windows of apartments
and illuminated by shivering glows of candles, she was more interested in
breasts exposed to the darkness of the room with tiny, protuberant areolas
of nipples. In other words, her own life that upon joining a new school became so intriguing.
Every October morning of that first year of war, Gerta got up into a deep
blue darkness, through which no single light gleamed, curious and looking
H U N DRE D YEARS OF EU ROPE – WAR AN D PEAC E
STANO MASAR: WAY OUT
forward to a new day. The window through which she looked out onto Pressburger Strasse while getting dressed only showed an image of black shadows,
thicker in places where the approaching light was screened off by the shadow of monumental sycamore trees. Gerta never stood by the window longer
than necessary for getting dressed. The image of her mother’s warm smile
at breakfast preceded by a quiet clinking of the cups and spoons emanating
from the kitchen made her hurry.
She closed the door of her room quietly, walked through the hallway and
entered the dining room, where mother was putting bread covered with blue,
checkered cloth on the table. Father was sitting at the table and, as he did
every morning, was flipping through yesterday’s paper. He would buy a new
paper on his way to work, at Mr. Foll’s newsstand that had changed owners
that year, as they learned from a sign that said Konrad Kinkel – Trafik.
– Good morning, said Gerta. Mother nervously looked at father, then
smiled at her, nodded and father answered: – Grüss Gott. He looked up
at mother from behind the paper, shook the edge of the paper to give his
gesture significance and went back to reading. Gerta curled up her lips into
the shape of a wrinkled narrow heart, sent an air kiss to mother and spread
them again into a wide smile. She loved her for being who she was, simple,
warm, with a vast, soft chest and round, strong arms. Her mother was at her
side, under all circumstances, even with the changes that Gerta didn’t understand much. Unlike little Friedrich, who must have been born a knowit-all. With a refined Weltanschauung and with such a face as though father
had split in two. He wore his hair parted the same way, he shut his eyes the
same way when he smiled, and he did what was right before father even uttered a word. Friedrich was the real Schnirch, and that’s why father saw him
differently than he saw Gerta. Because with Gerta it had been different from
her childhood.
She spoke both German and Czech like Friedrich, she sang Deutschland,
Deutschland über alles when father asked her to, as he stumped the rhythm
with his massive shoe with a long white knee sock above it, and to his joy she
wore dirndl with the little hat with a bristle. But she never was as valued as
Friedrich was in his eyes, she didn’t know why. For a long time she tried to
win him over, to get his attention, but then something broke inside her. Until
she understood that no matter what she did, she would never be as flawless
as him. Once she realized that, she became obsessed with revolt and tried
to deny everything that father brought to them, and the stronger she clung
to mother. It must have been around that time when their household began
to split - into the Czech and the German, and only her with her mother belonged to the Czech part. An abyss cracked open between Gerta and father.
She put away the green dirndl with a brim of red flowers and all father’s
rules with it. One of the rules was the ban on speaking Czech, because father
hadn’t liked the sound of Czech for a certain time.
It must have been sometime in the spring of 1939 when he gave a long
speech at home and ordered them to speak only German. Friedrich immediately agreed and hadn’t spoken a word of Czech since then, not even when
they were alone. But she found it absurd.
– Speak normally, she’d say confused when even mother served Sunday
lunch in German. Mother, who used to speak Czech exclusively. It had never
been that way, Gerta protested. It wasn’t that she hated German, on the contrary, she loved the language. Besides, it was a natural tongue for her just like
Czech. She spoke it outside while playing, at visits, at school or even in courses, depending whom she was addressing. She didn’t think whether to speak
Czech when she talked with her girlfriends or if to speak German when she
saw father. Several times father got upset with her when he heard her speaking Czech outside and he made her stay in her room for the whole Sunday
afternoon. And on occasion he went to the bedroom and came back with a
whip and beat her with it without holding back. It was mother who took his
hand and cried when he did that asking him to order her grounded and it
was mother who saved her from it with a warm dinner. She served in German.
With sleepy Grüss Gott Friedrich came to the dining room. It was still dark
outside the window in the wild garden of the courtyard, it was the same dark
even when Gerta ate half of her slice of bread and father put down the paper
and was finishing a cup of morning tea. Mother pushed a slice of bread with
a thick layer of chives and tea in front of Friedrich and reminded him as every
morning that he had gotten up late.
– Die Zeit wird knapp, so you don’t have to rush, kids.
All three of them walked out into the damp and chilly morning together.
Father would make them go faster by saying his los, los, but they all
stepped outside at the same time, holding their collars up at their necks
against the blustery cold wind. At the corner of Pressburger Strasse and Ponawkagasse they split. Father walked away through the park towards Adolf-Hitler-Platz, Gerta with Friedrich continued until Horst-Wessel-Strasse, where
the Deutsche Handelsakademie was.
The fact that Gerta entered Business College was father’s choice. If it
were up to her she would have gone to a small school that opened a couple
of years ago with extensive visual art instruction. She dreamed of painting
designs for the ceramic bowls and jugs that she saw lined up along the windows in one of the studios at the open day she visited with mother. Or she
wanted to make marionettes of goblins and fairies for which she would sew
clothes from textiles with patterns that resembled Janine’s drawings. Gerta
saw studios for that too there. And then she saw the ones where enormous
human figures from white and brown material stood on pedestals modeled
as God had made them, and the ones with paintings of landscapes, fields
and forests on easels, paintings of people that didn’t resemble humans, not
even at second or third look. She laughed at their square shapes and double-nosed faces. There were also paintings that Gerta couldn’t decipher and
even mother didn’t know what they could represent. Gerta will never forget
that visit, she was so fascinated by the abundance and diversity of the art she
encountered there. She will never forget the smell that permeated the school
and that stuck in her memory for long years, hiding in it the biggest adventure she could imagine.
That would have been her choice, but father decided that she should
apply with Friedrich to the German Business Academy, because times were
complicated and the nation needed efficient bureaucrats that he then could
employ at the office of Oberlandrat where he worked.
And Gerta did not protest. To be an artist was a dream anyway, a dream
that only those elect few can live, those who feel that they can’t and are not
able to do anything else but to follow their higher calling. And Gerta wasn’t
one of those people, because she was the daughter of Barbora Ručková and
Friedrich Schnirch from Sterngasse and she knew how to draw with charcoal and pastel, some handicraft that mother had taught her, and at school
she was good at math. Such people don’t become famous artists, she’d say
to herself, and in September 1939 she entered the German Handelsakademie and it was good that she did because they closed down the art school
soon after that.
(sample translation from the novel by the courtasy
of the Dana Blatna Literary Agency)
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V E S S E L A LYA H O VA
Refugees
22
Over the next few days, Neda kept expecting the three men to come back.
Frightened, morose, she kept glancing around with deep, dark eyes, as if waiting for death itself. She quit going to work, she retreated upstairs, she didn’t
even set foot in the yard, nor did she let her daughter go outside. She couldn’t
sleep a wink at night. And if she happened to drift off, overcome by exhaustion,
she would have nightmares of the most horrible, shameful violence. At such
moments, she would awaken with a strangled cry, her heart pounding, and
even though she knew it was just a dream, she could not calm down.
One day the doctor she worked for sent someone to check whether she
was sick. The servant left, and Neda, as if this was just what she had been waiting for, got dressed, straightened herself up, grabbed the documents she had
found amidst Georgi’s papers, and went out, telling Maryam to keep an eye on
the girl. The Armenian woman called after her through the door: “Where to?”
but after not receiving an answer, she crossed herself and said: “Be careful!”
Dr. Andonis had patients, but when they told him she was here, he saw
her immediately.
During those sleepless nights, Neda had thought about what she would
say, what words she would use in front of the doctor. He was an educated,
good man, he would understand where she was coming from. But he had no
idea, not a single inkling, of what she had been through. So that meant she
would have to tell him everything, from the beginning, starting with Georgi’s
death… When she saw the familiar house, however, and the clean waiting
room with the wide staircase leading towards the rooms on the second floor,
when she sensed the peacefulness of someone else’s well-ordered life, she
said to herself: what does he care about my nightmares! Hasn’t he already
helped me enough – once to have a child, then again to earn a living. What
more could I ask of him! After all, he’s only a doctor, not a magician! Hesitating, she was ready to turn back, but it was already too late.
Dr. Andonis received her in his office and, clearly concerned, asked her
what was the matter.
Neda said the first thing that popped into her head: “I have to leave
Greece,” and fell silent.
She fell silent because she had uttered that thought clearly for the first
time and was amazed that it sounded like an important and painful decision.
She had been juggling all sorts of thoughts in her head, and actually had
hidden this thought behind certain hazy beliefs: that she shouldn’t be afraid,
that she would manage, that she would stop at nothing to save her child, and
Lord knows what else. Yet it was so simple: she would leave Greece. That was
her salvation, that’s what her tormentors wanted, that’s what her relatives had
been telling her to do, that’s what Greece itself expected of her. She instantly
felt relief. Of course, that meant the end! The end of that whole life: Drama,
the white courtyard, her job at the doctor’s office, the tidy white coat, Sunday visits to the cemetery… Neda swallowed and repeated again, now in a
stronger voice: “I have to leave Greece.”
“Why?” Dr. Andonis asked. The wave of mass emigration had passed. However, another thing was clear to him as well: jolts of political uncertainty always swept away the most defenseless.
“I had a close shave that made it clear to me that I, as a Bulgarian, have
no place here.”
“Your job here with me is guaranteed…”
“You are not the whole of Greece, Dr. Andonis,” Neda said, shaking her head.
The doctor fell silent. Neda knew: there was no way he didn’t realize what
was going on in the country, how lawlessness reigned.
“I’m out of time, they’ll come back any minute and they won’t stand on
ceremony with me,” Neda continued, giving her tone a business-like edge
so as to hide her enormous regret and grief. This helped him as well, so he
wouldn’t feel as if he were facing a painful farewell. “Unfortunately, I need
money.” Neda faltered, but only for a moment. “Would you be willing to give
me a loan against this property…”
She reached into her purse and pulled out the folded papers. Dr. Andonis
raised his eyebrows quizzically. He didn’t say anything, he didn’t even reach
out for the documents.
“Before he died, my husband bought an orchard. Actually, that orchard is
the reason they’re tormenting me. He always said it would make a wonderful little farm…”
Dr. Andonis smiled uneasily and interrupted her: “Neda, I’m a doctor, not
a farmer!”
She nodded, but looked at him with disappointment. She put the papers
back in her purse.
“Of course. But I have nothing else to offer you nor do I have time to find
someone to sell it to…”
He looked at her kindly, it seemed.
“I don’t expect any kind of offer from you. Wait for me for a moment,” he
said and left the room.
Neda was left alone in embarrassed anticipation. She had to admit to herself
that no one would buy a property in five minutes. So that means she had nevertheless come here to beg, to beg for help in the most humiliating way. But he did
not acknowledge her humiliation in any way, he even continued addressing her
politely, just as before. His nobleness had spared her from the awkwardness of
her position. Yet he was also a Greek… She looked around. She was most likely
seeing all of this for the last time. She felt sad and amused at the same time. She
had sat on the examination table covered with a white sheet, the same white
sheet she had later taken care of, washing it, ironing it, folding it… Everything
was so familiar, even dear to her. She was not destined to be at home here.
Dr. Andonis quickly returned.
“You didn’t tell me what happened, but I understand that it is something
quite serious. I’m not going to try to change your mind, just know that you
won’t have an easy time of it.” He took a wad of folded bills out of his pocket. “This is your salary for the past month,” he said, handing her the money.
From the thickness, Neda could tell that it was quite a bit more than she
was due. She straightened up and opened her mouth to protest. Judging her intentions from her expression, Dr. Andonis cut her off: “Please don’t, don’t feel
obliged! In any case, I was very happy with your work. It’s too bad you’re leaving.” He fell silent for a moment before adding: “Take care. I wish you happiness.”
“Happiness?” Neda smiled bitterly. “Is there such a thing as a happy widow,
doctor? Or a happy homeless person? Or a happy refugee? God willing, I’ll
bring my child across the border, hopefully happiness is in her destiny…
She turned to leave. He saw her to the door. When they were outside, he
stretched out is hand and quietly, almost inaudibly, said: “I’m ashamed of
what my homeland has done to you.”
“I doubt we’ll ever see each other again. But please know that my late husband and I did not approve of what they did to you when the Bulgarian authorities ran you out.”
Dr. Andonis shrugged: “You know what? The saddest part of all is that
they have sown hatred between us. Yet we are so alike.”
Before she turned the corner, Neda looked back. The doctor was still
standing in the doorway. She clutched her purse, containing the money
amidst the documents, crossed the street with a decisive stride and never
once looked back again.
TRANSLATED BY ANGELA RODEL
H U N DRE D YEARS OF EU ROPE – WAR AN D PEAC E
M A R C O M AG I N I
As if I were alone
STANO MASAR: LAST JUDGEMENT
Dražen
The recruitment centre is in a damp primary school gym.
Irina does not understand why I came here, and how could she. She fell
in love with a long-haired extrovert with a guitar slung over his shoulder and
now she finds herself looking at him wearing his third military uniform. In
the end, whom should I be at war against? I, who should be considered a true
Yugoslav, practically one of a kind. I was born only a few kilometers from here,
in the Serbian area of Bosnia and Herzegovina, to Croatian parents. Not that
this made much difference to me. My generation never asked if the girl we
were dating with was Serbian or Croatian, or if our team member was Muslim.
Of course, you knew who observed Ramadan and who celebrated Christmas,
but the country I was born in was too small to allow us to exclude friendships
based on these details.
There are twenty or so of us in a row, all very young, it is clear that they
are scraping the bottom of the barrel. Being a soldier at a time like this is the
only safe job. If you are on the right side, you know your daughter will never
go hungry and that no one will touch your wife. There isn’t enough money
left to listen to Irina’s objections. The war won’t last long; I just have to make
sure I don’t do anything stupid and I’ll soon be back home. I’m no hero and
I certainly don’t intend to become one now.
My third uniform. At eighteen, during national service, I was trained in
that mixed bag that was the Yugoslav army. I started in January 1990, and was
posted to a base a few kilometres outside Sisak. Apart from the occasional
hunt for turtle doves with my grandfather, that was the first time I had held
a rifle. May 13th was a Sunday. Saturday was the only leave day but Sundays
weren’t so bad, given that we were all allowed to watch the match together
in the barracks. There was a little television in the canteen, on a shelf two
meters above the ground. That evening at the Maksimir stadium, Dinamo
Zagabria was playing Stella Rossa. I’d never been a great football fanatic, but
I had learned that if you don’t want to find yourself alone, it is important to
like what the others like. In the army, being different is ill advised; create
as many friendships as possible if you want to spend your months peacefully. Seeing myself through today’s eyes, I realise as well that I always felt
self-conscious about being an eighteen year old from a small country town,
who still hadn’t much experience of life. We’d been talking about the match
for days. There had already been unrest in Belgrade the year before and
there was widespread fear that the recent election of Tudjman would further ignite bad feelings. Politics didn’t interest me at that time and I still had
no idea that we would soon be forced to take an interest. Growing up in the
wake of Tito’s death, my generation was much more interested in the musical break-up of ‘The Police’ than in a possible break-up of the Yugoslavian
Republic. Federation, confederation: these were words that were a long way
from our thoughts.
I remember the day that I eventually woke up to what was really happening in my country. I may not have understood, but I clearly felt that something had changed. I remember the Croatian fans invaded the pitch and
Boban, the captain of Dinamo Zagabria, turned around, raised his head, took
a running jump at the policeman and kicked him straight in the face; an instinctive defence with respect to what was going on. Of all the turmoil that
happened that day, the riot squad kitted up in anti-riot gear, the injured lying
on the ground, of all this I only remember Boban and his flying kick.
I have often asked myself if Boban was aware of the consequences of his
gesture, whether he realised its significance. Probably not. That kick, transmitted and retransmitted on the television, was to end up taking on a life of
its own, turning into something that was foreign to and independent from
its perpetrator and his true intentions. That kick forced us to choose sides; it
was impossible to remain indifferent to it. In that instant, Boban became the
protector of the Croatian nation, the choice was to side with Boban or with
the police officer: to decide, as Tujman said, whether it made sense for Croatia to exist or whether, as Milosevic was already shouting, the old Yugoslavia
should continue as it was.
That kick became the only topic of mealtime discussions over the following days. For the first time in the history of the Yugoslav army, which until
that time had been the main training ground for creating a nation, expressions such as “Turk” or “Croatian” were coined, derogatory names that began
to trace invisible boundaries between us comrades-in arms. I believe it was
then that many of my companions discovered they were “Croatians” or rather
“sons of Croatia” as they were defined then by the new Prime Minister Tujman.
I remember how deeply they were affected, although re-examining the facts
today, I think I might interpret it more as a teenage infatuation, more like
seeking an identity through a presumed difference than a real political ideal.
As things stood, within a few weeks many people became public defenders of
those they had elected, and declared their readiness to shoulder their arms
were their requests not accepted. True to my desire for invisibility, I partook
in long discussions in which I remained silent, attempting to separate the
two contenders in the end when they finally raised their fists. Thinking back
now to the last few months of my military service, my memories are fuzzy, as
if I were watching my life as a spectator without having any involvement in
it. The only thing I recall as clearly as yesterday is my impatience to go back
home as soon as possible.
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H u n g a r i a n
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Sp ring 2014
N O R M A N M A N E A I N T E R V I E W E D BY C A R L A B A R I C Z
The Great Work and
the Compromised Man
MANEA, Norman
On Clowns: The
Dictator and the
Artist
(essays)
Grove Press, 1994
(2nd ed.)
Romanian Writers
on Writing (ed)
Trinity University
Press, 2011
The Fifth
Impossibility
(essays)
Yale University
Press, 2012
Compulsory
Happiness
Yale University
Press, 2012
(3rd ed.)
The Black Envelope
Yale University
Press, 2012
(3rd ed.)
The Lair
Yale University
Press, 2012
The Hooligan‘s
Return
Yale University
Press, 2013
(2nd ed.)
24
CARLA BARICZ
Tell me a little bit about writing The Hooligan’s Return. When did you decide
to write a memoir? Did you know right off the bat
that it was going to be a memoir? Had you decided to write before you visited Romania in 1997?
NORMAN MANEAI didn’t want to write this
book. I didn’t want to write a memoir, in any
case. I didn’t like the idea of a memoir, but that’s
what I ended up with. I happened to visit an editor, and I told him a few stories about Romania.
He was very interested, that’s how people are
sometimes, when you tell them stories about
that other world, the Old World with its scandals and exoticism. He was very taken with my
story, and he encouraged me to write it down.
I then received a small note from that same editor. He wrote to say that he saw a book in the
making, that he would be willing to publish it.
I fought with him for six months; I wasn’t in the
business of writing memoirs. I wanted it to be a
novel. I told him that I wanted to write with ink
rather than blood. And he said, “No, Norman,
it’s better in blood!” I spent a long time thinking
about the book, and it took me a long time to
write it – years. Things got easier when I finally
decided what I wanted to do with the structure.
The book is a hybrid. It’s not exactly a memoir.
It’s a hybrid form. It includes a section in which
I retell the lives of my parents, before they had
me: the past as fiction. Another section is a travel journal, which documents my 10 days in Romania, in 1997. So, it’s really a combination of
things. My American editor labeled it a “memoir,”
but in Germany it came out with the subtitle
“self-portrait,” in Italy it was called “a life,” and
in Spain they thought it was a “novel.” It can be
read in a lot of ways. In Romania, where I had a
say in these decisions, I told them not to use a
subtitle, just “The Hooligan’s Return.” I leave it
up to the reader. Think of it as you see fit.
What is it like to write your own life?

The book has also been labeled a “novelistic

memoir.” Nothing that has anything to do with
the past – and yesterday is already the past – can
be recalled perfectly. It’s already somehow foggy.
Processes of memory are at work, and memory is
fictive, weak, and ambiguous. What I wrote wasn’t
a perfect document. It was difficult. A memoir
or a journal needs to be authentic and truthful.
You shouldn’t lie or wiggle around. You can lie as
much as you want when you write a novel, but not
in this case. Yet, the book is partially novelistic;
I write about things that I think happened or that
I know happened because documents told me,
but which I did not experience myself. And even
certain other parts of the book, like my description of childhood … Well, that was 70 years ago!
Memory is a process which you cannot really own.
You do what you can, you use whatever memories
are still available to you, but the past is never exactly what you think it is.
The year 2013 marked the 10th anniversary

of The Hooligan’s Return. If you were to sit down
now, would you have written the same memoir?
Would it have taken the same shape?
I can’t take any responsibility for possible actions. I cannot tell what would have happened …
10 years is a long time. That was another moment
in my life and in my writing. Perhaps, I would
still reject the idea of writing a memoir. The
whole thing was a surprise for me. And, somehow, it was also a kind of … sadness. It’s a sad
time in the life of a writer when one book takes
over all the other books, and you feel as you do
when you have a number of children, and some
of your children are handsome, accomplished,
and social, while others are more isolated, quiet,
and disliked. As a parent, you might be drawn
to the latter, which are at a disadvantage. I, too,
am drawn to my lesser-known works. Of course,
I was shocked that the memoir received such
great reviews in the American press. My memoir was not the sort of thing that people usually
think of when they talk about the genre. It was
partially fictional, and it was a complicated, Central European fiction. That type of writing can
often seem coded and obscure, it belongs to another tradition. You have to learn how to read
it. So I was very, very shocked and surprised
that the book became successful. I received the
MacArthur and the Guggenheim shortly thereafter, so I felt a bit like I was living the American
dream, which is not a very comfortable thing for
a writer. But that was that. Subject closed.
I’m sorry that I’m going to continue asking

about the favorite child, but what prompted you
to call your memoir The Hooligan’s Return?
Well, it was because I wrote that article about

[Mircea] Eliade, and probably for other reasons,
too. I was vehemently attacked in Romania when
I published that essay; I was called horrible names.
I was a guy who felt very Romanian at heart, for
better or worse. I had never wanted to leave Romania. Then, later on, I didn’t want to go back.
I had all of these complicated feelings about my
homeland. And then, at that point, when I was attacked by everyone, I felt hurt. And I felt hurt that
so few people stood by me. Even my close friends,
people who knew me very well, didn’t defend me.
There was no public refutation of any kind?

Not really. Look, when the press attacked me

in ’82, people told me – and they were right –
that they couldn’t defend me, that they couldn’t
say anything because no one would publish any
sort of defense. Which is true, the press was censored. But later, in in ’90 and ’91, the situation
had changed. It’s true that in the first years after
the revolution, life was very chaotic, and everyone was enraged with everyone else, so perhaps
an explanation can be found. Nevertheless, I suddenly felt like a hooligan. I felt that, in a way, and
only in a way, of course, my situation resembled
Sebastian’s, who had also been an assimilated Jew
who loved Romania very much. His famous sentence, remember? “No anti-Semitic law can stop
me from loving my country.” The cases were very
different, but they felt similar. His best friends in
Romania were not Jews, they were Romanian, and
they didn’t defend him. Friends like Mircae Eliade?

Like Eliade, like [E. M.] Cioran, like Nae Iones
cu, who was Sebastian’s tutor, his mentor. Sebastian couldn’t separate himself from all of this. He
was very much part of it all. At the end of his journal, he writes about an encounter with a Jewish
captain in the American army, who was stationed
in Bucharest. And thinking about this captain, Sebastian suddenly came up with an idea: “I have to
go to America, and I have to work for Hollywood!”
I don’t know what he knew about Hollywood, but
anyway, he had the feeling that what had happened to him should not leave him unchanged.
Now, during the war, things were very bad for
Sebastian, they were terrible, but he wasn’t arrested, and he was not sent to a camp. He was
not in Transnistria. I was in a camp, and I wasn’t
a Jew, I was just a little boy. I was a boy, I didn’t
know what a Jew was, at that point. But, there are
still reasons to compare the two cases. I felt that
I should appropriate Sebastian’s rather scandalous title and name, and that I had to tell his story.
Let’s go back, for a second. You mentioned

that you had been persecuted in ’82 and ’83. Can
you say a few words about what happened?
I published an interview in a provincial mag
azine in Oradea; it was a very good magazine,
Familia [The Family]. I did an interview with a
tough literary critic, who asked me several questions to which I replied honestly. I was honest,
I said exactly what I thought about the official
writers, who wrote exactly what the Party asked
them to write, and I commented on the underlying communist anti-Semitism, which wasn’t exactly the type of anti-Semitism the Legionaries
had practiced. And it’s interesting that all of this
25 YEARS WITHOUT TH E IRON COU RTAIN
happened because the editor-in-chief of the review was on an official visit to North Korea at the
time. The assistant editor published the interview
because his boss wasn’t there. Afterwards, when
the guy came back, he was fired. And the piece
caused a huge scandal. These writers who wrote
for Saptamana [The Weekly] and for the other
nationalist magazines felt attacked, and they answered in turn. They had the Romanian press in
their hands, and an entire campaign was launched
against me. I was not allowed to write and reply
in my own defense. I must say that, though this
interview was published in Oradea, which is in
Transylvania, and even though this smear campaign spread to the entire country, the papers in
Transylvania never attacked me. In Bucharest it
was a circus. In Cluj, Oradea, and Timi oara, no
one attacked me.
Why do you think that is?

For better or worse, it’s a part of Romania that

is, in my opinion, more western. You wrote in your memoir that “in 1935, the

year before I was born, I was the hooligan Sebastian – and so I would be fifty years after and
then ten more years after that and another ten
and all the years between.” What do you mean
by that?
Did I say that in ’35 I was Sebastian? I wasn’t

born in ’35, so it’s possible. In any case, I felt
close to Sebastian, I felt that he was almost myself, that I embodied this phantom called Sebastian. I was moved by his story. He was completely
assimilated into Romanian culture. He had many
friends who were Christians, and despite what
happened to him between ’39 and ’44, he did
not become bitter. This was the interesting thing
about his Journal. Compared to other books by
Jews, books written in the same period, he maintained a type of detachment and a type of gentleness with which I very much sympathized. As
I said, I was idiotic enough to not want to leave
Romania. I could have immigrated if I had wanted to. My family remained in Romania because of
me. I felt very rooted in the Romanian language
and culture. This was my only home. And where
should I have gone? Where? What should I have
done? Things reached a point in 1986, when the
situation in Romania became so bleak and unbearable that I had to leave.
Tell me about your first reading of Sebastian.

Were you surprised? Were you inflamed like your
mother’s cousin, Ariel?
First of all, Sebastian’s books were not availa
ble in Romania at the time. How I Became a Hooligan was not available; For Two Thousand Years
was not available. What was available, and this
was later, in the period of liberalization during
the thaw, when the system began to rehabilitate
a lot of Romanian writers who had been banned
before were the plays and some essays. Then, his
novel The Accident appeared. But that was it. His
first novel, The Town with the Black Locust Trees
had not been republished, How I Became a Hooligan had not been republished, For Two Thousand Years hand not been republished. I read
these books in old editions. I was very much
impressed by the latter two. Though For Two
Thousand Years is not a great novel, it’s a very
interesting one. Sebastian deals with the Jewish
question, and his point of view is not very different from that of his mentor, actually. Putting aside
the anti-Semitism, what Nae Ionescu wrote in the
preface was not completely different from what
the book said. The book tries to demonstrate that
there is no solution to the Jewish problem. The
Marxist solution, with its Utopian dreams, the Yiddish solution of staying within the parameters of
Jewish folklore, the Hebrew solution of reading
the Torah and moving to Israel, the Stalinist solution – none of these solutions worked! And assimilation didn’t work either, because you would
always remain more or less a suspect in your own
homeland. This problem appealed to me. Anything that doesn’t have a solution appeals to me.
You wrote in your memoir that you had read

Proust and Joyce when you were younger. Was it
in this thaw period?
No, I read Proust earlier. There were two or

three very good libraries in Bucharest. I found Cioculescu’s extraordinary translation of Proust at
the Institute for Foreign Relations. I read it there,
before it was republished, in the early ’70s, for the
popular Everyman’s Library.
You say in your essay, “The Incompatibilities”

that Sebastian’s Journal is an account of the “rhinocerization” of certain Romanian intellectuals,
whom Sebastian counted among his friends. You
discuss Mircea Eliade, E. M. Cioran and Constantin Noica. Can you elaborate on the term
“rhinocerization?”
The word comes from one of Eugene Ionesco’s plays, and Ionesco is an interesting case.
He was not very political. In fact, he was one of
the very few intellectuals in this group who did
not condone this sort of right-wing nationalism.
He said somewhere that when he left Romania,
around 1939, and reached the Hungarian border,
he felt that he was finally saved. At the end of the
war, in ’44, he wrote in his diary that he would
never shake hands with Eliade, Ionescu, Cioran
any of those people. Of course, later they became
friends. That’s exile. In exile, they suddenly felt
like Romanians in Paris. And they were reconciled, and they started talking again. But as I said
before, Ionesco felt differently during and right
after the war. He says in his diary that “I could
have become anything – I could have become
a legionary, I could have become a dog, I could
have become a base beast in that atmosphere.”
And then he wrote this play, Rhinoceros, which
discusses the slow transformation of human beings into rhinoceros, meaning beasts. The only
person who remains human is the guy who is not
virtuous, who is a drunk, who is lazy, who doesn’t
work. All these other guys who display great principles, moral principles, become rhinoceros. But
this man, who is human in his defects, remains
human. This is the metaphor of the play.
The play was presented in the late ’60s or
early ’70s in Romania, in a wonderful production
with [Radu] Beligan in the leading role. For us,
of course, it was anti-totalitarian and anti-communist, but it applies to all totalitarian systems.
It’s about the slow degradation and loss of real
humanness. Up to the very end, the rhinoceros
maintain that they are the very best, that they are
patriots. It should be said that, in Romania, the
right-wing movement that gained support in the
’30s was very different from Nazism and fascism.
Nazism and Fascism were atheistic movements,
movements against the church. The Legionary
movement was religious – Christian Orthodox. It
was a different thought process: “The Jews have
to be eliminated because we have to have this
pure life, the life God wants us to lead, or Jesus,
or whatever.” In that way, it was similar to what
the communist movement advocated. The communist utopian ideology was based on the idea of
“the new man.” This was a very dangerous idea, because real life is imperfect, we are imperfect, and
when you ask us to be perfect, well, that’s the first
step towards terror and tyranny.
Of course, Eliade’s Hooligans is also all about

creating the “new man.” That’s the goal of all the
young people in the novel. They want to embody
“the new man.” And to do that, they constantly
refer to Nae Ionescu.
The Romanian extreme right emphasized
the cult of death. Death was seen as man’s greatest achievement. The moment of culmination
was death. All in all, this was very different from
the hypocritical, humanist socialist ideology.
The left borrowed its humanism from the French
Revolution. The right was completely against it;
they had a much darker view of things. The Legionaries were the only ones who resisted in the
communist jails and didn’t compromise. Similarly, the communists were the only ones who survived the Nazi jails and didn’t compromise. Both
the far left and the far right had beliefs to which
they fully dedicated themselves, for better or for
worse. We, in a democracy, are told every day
to be pragmatic, to find a way to get by, to compromise between the Democrats and the Republicans. And now, when both parties have become extremely ideological, they cannot reach
an agreement. That’s a problem. Nevertheless,
even though democracy is not perfectly pure or
moral, it is more human. I want to broaden the scope a little and ask

about the many intellectual figures that you
name in your work, people who made terrible,
unforgivable compromises. I’m thinking of the
young Mircea Eliade, of Emil Cioran, of Constantin Noica, and under communism, of Paul
Georgescu, “the flying elephant.” Do you think
the work can stand independent of the writer?
Or is aesthetic merit undermined by ideological
compromise? The work can and should stand independent
ly, in my opinion. There are cases when the work
still has merit, despite the shortcomings of its
writer. Human beings are not perfect, and there
is something redeeming in the human being who,
imperfect as he or she is, nevertheless struggles
for a perfect work and creates a masterpiece. In
my opinion, this redeems the flawed person a little bit. I think that the work should be judged for
itself, and the defects of the writer should never
be ignored. We can think of the writer as a teaching example. He or she can help us understand
25
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difficult periods in human history; what the writer has to say should be dealt with, it should be debated. The great work and the compromised man
are a human contradiction, and I am always for
contradictions. They’re more interesting than coherences. Of course, sometimes, it’s very difficult
to separate one from the other.
Does this view hold up when pressure is exert
ed by those in power? I am thinking of the physically and mentally tortured woman in your
short story, “The Interrogation.” She agrees to the
subject she is to paint because, otherwise, she will
not be allowed to paint. Is this a different type of
compromise?
There is a big difference, in my opinion, be
tween the choices you make as a free man and the
choices you make under a totalitarian system. Eliade made his choice freely. At that point, Romania
was still governed by a parliamentary system, the
liberal bourgeoisie parties still existed; you could
be in the Liberal party, or in the Peasant party. Or
you could still choose to be completely apolitical.
Eliade had a choice. If you are living under a totalitarian system, the decision is different. Your
hand is forced. This is why I don’t point fingers
at people who were coopted by the communist
government, because I can understand human
weakness, and I can understand the difficulties of
a human life in that type of system. What I cannot forgive or forget are the people who did terrible, horrifying things to other people. But if you
compromised simply by going along, if you had
a family, or sick brother, or mother, or a child, or
you desperately needed a job, and you didn’t hurt
anyone, then that’s something else. In my opinion,
people are not destined to be heroes, and you
should never force people to be heroes. We are
human beings. Heroes make up a very small percentage of humanity, and even then, they’re not
human, they’re one-dimensional. Not all people
are courageous. I had this discussion a number of
times in Romania. What do you ask of a poet? You
ask him to write good poems. You don’t ask him if
he’s betrayed his wife, or what political party he’s
voting for, or where he’s having dinner. If he’s a
good poet, that’s it. What do you ask of a human
being? That’s a hard question.
If you live in that type of society, then your
choices are limited. If you are in jail, if you are
under interrogation, it’s very hard … I can tell
you that I had a couple of meetings with the
agents from the Securitate [the secret police], and
they pressured me to collaborate, and I behaved
well and resisted. But, when I went out into the
street, I thought: “My God, if this would have
gone on another 10 minutes, I would have broken
down. I would have given them what they wanted.” As a frail human being, you don’t always know
your limits. The main thing is not to put people in
that kind of situation. Life is a continuous compromise, and when you impose rigid criteria, you cannot judge anything properly. There are some criteria that only computers can fulfill. In Romania,
I heard the following definition of what a computer is: “A computer is that thing which cannot deal
with vague ideas.” But we should deal with vague
ideas and compromises. For better or worse, we
are not computers, or we aren’t yet. Thank God,
I won’t be around if and when that happens. Can you tell me a little bit about the walking

contradiction Paul Georgescu?
He was an extraordinary man, and we were
close friends. He was a great gossiper, and he
always told me, “Look, I’m going to be remembered in the history of Romanian letters for
the nicknames I’ve given to people. This is my
greatest achievement.” Of course, that’s not
true. He wrote some great books. We were not
of the same generation, and he called me “the
British liberal.” We had wonderful discussions,
and he was an extraordinary reader – a very
sarcastic, cultivated man, who also happened
to be genuinely funny. I met him through his
wife, a truly beautiful woman. Their marriage
was a contradiction in terms: she was this frigid, brilliant woman, and he was a complete hedonist. He liked to eat and to drink and to joke.
He was very fat, a kind of Falstaff, and he had
a mistress, and he took a taxi to see her. His
wife would order the taxi and help him down
the stairs! He moved with great difficulty, so
she would even have to put him in the car! And
his mistress is still alive! You can find her in the
Guinness Book of World Records. She is the oldest woman to have been artificially inseminated
and to have given birth to a child at, I think, 61
or 62! She was in the papers two or three days
ago; she lost her home and bank account. I have
no idea why. All the papers sent out appeals for
donations, because she is an octogenarian, and
because she is this special case … She shared
Paul Georgescu’s insane courage, and she did
something special with her life. I met Georgescu through his wife. I was in his
wife’s literary circle, not in his (he had his literary
salon at his mistress’ house). She read an article
I wrote on Radu Petrescu, and then she called me.
“I am Dina Georgescu, I read your article, you are
a wonderful writer, I am a great admirer, etc. You
should come over on Saturday evening, I usually have friends over.” I began to go over monthly, and it was awful. Mainly because of her mother. Her mother was a Jew, from Bessarabia, who
spoke Romanian with a very thick accent. At every
literary meeting, she would bring out this cake,
and the cake was so sweet that you could faint.
Were you expected to eat it?!

Yes! She usually placed a glass of white wine

before each of us – it was an extremely sweet
white wine. When I went home, I always said:
“Now, I’m in desperate need of an onion!” It was
very difficult to bear. Her circle was totally apolitical, artistic. She was very beautiful, but very cold.
A great reader. She told her husband about me.
And then, one time, she invited me over when
Paul was at home. She said: “He wants to meet
you.” Later, I saw him from time to time, every
month or so. From time to time, he would ask me
to take him out of the city in my car, in my small
Trabant. It was very hard to move him around.
I had long discussions with him about leaving or not leaving. He said, “Norman, yes, you
were hurt terribly as a child, but don’t go, you
won’t be happy. What will you do there, in that
crazy American world?” He cursed me after I left,
he said I was an American agent, but after a few
years, he became sentimental and came around.
He called my wife’s mother and asked about me
in a very friendly manner. He became more compassionate over the years. He was a wonderful,
extraordinary man, though a dogmatist. He always told me: “Norman, I am not a Stalinist, I am
with Trotsky.” This was not better in my opinion;
Trotsky was a bit more intelligent than Stalin, but
that was about it. Anyway, his case is very different from Sebastian’s. Paul was completely Romanian, he was Orthodox, but almost all his friends
were Jewish. That’s how he became a Communist! A wonderful character. He couldn’t drink, his
health prevented it, especially in his last years, so
he got drunk with coffee. He drank 10 to 20 cups
of coffee a day, until he propelled himself into a
state of mania. Politically we were complete adversaries, and we couldn’t talk about politics, he considered me a bourgeoisie, Liberal Democrat, but
otherwise we were friends.
I remember that you told me once that you

had some qualms about being included in that
1970 Hebrew anthology, Jewish Writers in Romanian. Do you see yourself as a Jewish Romanian
writer? Or just as a Romanian writer? Or do the
labels seem completely unhelpful?
When I came here I was shocked to see the

bookstore shelves: women writers, gay writers,
Jewish writers, Catholic writers, all the tags. In my
opinion, a writer is defined by the language he or
she uses. Language is the tool. This is what defines the writer. You are an American writer – gay,
black, Hindu, whatever – if you write in English.
The topic about which you write is your own business. So, in my opinion, I was a Romanian writer,
and my ethnicity was my own business. Of course,
it’s not an easy problem to deal with, but it’s my
problem. Leave me alone with it. Even if I only
write about Jews, as long as I write in English,
I am still an American writer. I had this discussion
at a conference in Brussels last year. The conference was entitled “How Do We Save Europe?” and
I was on a literary panel. I said then what I am
saying now. I am not a politician, but I think that,
in order to give back to Europe its essence, you
have to go back to the Napoleonic definition of
citizenship. Napoleon was the first person to introduce the idea that you can be a citizen regardless of ethnicity or religion. This is also the American idea. The only thing that you are asked here
is to respect the Constitution. Otherwise, nobody
cares what you do, what you think. Everything
else is your problem. Anyway, you can apply this
to the writer. The writer’s citizenship is his or her
language. So, my homeland is the Romanian language. Of course I live here, and we’re speaking
in English, and I have an American passport, but
I am still a Romanian writer. So, when I saw Jewish
Writers in Romanian, I said, “What is this?! Did
Moses send me here to write in Romanian? This
is my home. I speak Romanian. I’ve never negated
the fact that I am Jewish, but my writing belongs
to the Romanian literary tradition.” Since then,
I’ve grown older. I’ve begun to question myself.
I’ve gone through a lot of unpleasant experiences
25 YEARS WITHOUT TH E IRON COU RTAIN
in my life, and maybe there is a point to the tags
after all. Maybe we can have sub-shelves within
the main shelf of American literature, and that
can be a way of sorting things, too. Now I have
no idea what I think, and I am very pleased that
I don’t know.
So, then, do we dismiss the idea that Jewish

writers, writing in Romanian, are the inheritors
of a “minor literature?” Does this term not apply? It depends who they are. You need to think
of specific cases. You can’t generalize. What’s
Jewish about me? I’ve been asked this a number of times. I am not a religious person, and
sometimes I really wish that I was, I think it
might have helped me. There are, of course, a
number of definitions: one is Jewish if one’s mother is Jewish – the father doesn’t matter, ever,
because who knows anything about the father,
really – and if one is circumcised. Well, I can
say “yes,” on both counts. My mother was Jewish, and I apologize for confessing to the latter
requirement as well. Anyway, does this make
me a Jew? I grew up in a Jewish house, with certain Jewish habits. My parents were not very religious, but we went to the synagogue two times
a year. I spoke Romanian with my parents and who are neurotic, anxious, and depressed. I wantwith my grandparents. So, am I a Jew? One defi- ed them to be irredeemable. I wanted the socialnition of Jewishness that I do accept – and this is ist system to fail to recuperate or redeem them
from the Talmud, as I’ve understood – is that a in any way, because the system always saw itself
Jew is someone who is against idolatry. I accept as moving ahead, regardless of past mistakes or
this! And, I must say, I like it! I would like to be bungles; it saw itself as propelling everyone into
able to be in the category of people who have an the future. And I wanted to say: “No, my characideal, but who do not become idolaters, who do ters are defeated.” The writing itself is hermetic,
not let their ideal become idolatry. So, perhaps, so it can’t really be manipulated. I realize that in
this country, which is so different from the cenin this sense … Can
you
say
a
little
bit
about
your
first
novel
tral European mindset that the book portrays, my

Captives, which is being published for the first novel may be a disaster. But it’s not the first disastime in English by New Directions?
ter I’ve dealt with in my life. So, we’ll see. I struggled with New Directions. I wanted to give them
It’s
one
of
my
biggest
mistakes.
It
will
be
a
dis
another book, but they wanted this one. I have no
aster here. idea
how it will all turn out. But that’s it. I am what
Because
of
the
translation?

No,
because
of
the
text
itself.
The
book
is
exI am.
Imperfect.

tremely obscure and hermetic. I published it in
(Published in the Los Angeles
1970, and some people in Romania say that it’s
Review of Books, February 2, 2014)
my best book. At that time, I wanted to do certain things with my writing. I wanted to have my
protagonists – “she,” “you” and “me” – be people
who are defeated by life and by circumstances.
These characters are not the great heroes of Romanian realist socialist literature. They are people
K R I S T I A N N O VA K
Black Mother Earth
I asked Zvonko, who was still standing as a shadow, leaning against the locker room, if we could go to his place, watch television, cowboys and Indians, watch empty beer cans, anything, just to keep me from thinking about
Franco. He was kind of nervous and weak, he did not say a word on the way
home and at home he drank glass after glass of water, constantly getting out
of the armchair and coming back. I took off my sneakers and curled up on
the sofa. It seems that at some point I dozed off, although it was still day, because I was completely calmed down and had a blank image in front of my
eyes which in my reality was not often the case. The blank image was disrupted by a loud clump from the room next door; this was the sound evoking a
huge fleshy bug, an insect the size of a horse banging against the wall of the
room lamp. I sat up on the sofa. As if something inside of me had already
clearly seen the scene I was yet to witness. The fear of what I would see was
lesser than the fear of remaining forever petrified on that sofa so I got up on
my feet and went into the hallway. Zvonko was hanging from a rope tied to
the attic staircase. At first I did not see the rope as it was dark in the house,
the rope was thin and it looked as if Zvonko was hovering. As if he still had
the strength to pretend he was composed and decent, he silently flexed and
jerked his hands on the noose. It somehow seemed he had changed his mind
when he saw me. As if he realised that the only thing that would outlive him
was the scene of his helplessness recorded in me. I ran to him trying to lift
him by the legs. He was heavy and wildly waving his legs. I managed to grab
both his legs a few times but every time he would kick throwing me a few
steps back. No one uttered a sound, nor the two of us neither all of Zdravko’s
memories that were watching this bizarre picture. “Not again”, I thought. I
was nowdefinitely becoming a monster, even to those who defended me.
I would feel dizzy whenever I found myself in a very important situation.
May be because those were the moments I had imagined a hundred times
before, creating an imaginary picture of them, and when they became reality
I had to switch in my head from a timeless construct to the present. His feet
were clenching, the thumb aiming upwards and the other fingers downwards. I saw that because on one foot he was wearing a sock and a slipper
while the other one was bare. I looked up and saw that his face was red and
his tongue blue. His eyes were big. He was beautiful in some strange way.
When I was sure it was all over, I managed to lift him up for a brief moment, but he jerked his back one last time and kicked me back. Since I did
not want to let him go, I lost footing on the ground and hang on to his leg.
There was a crispy shot somewhere above me and it seemed to me that I had
felt it also under my hands. It reminded me of grandma tearing and nibbling
on a boiled chicken leg from the soup. His body was now completely still and
I knew he was gone. My head was leaning against his groin and I felt moisture on my face. He took a leak, I thought. I moved a few steps back and sat
in the corner never taking my eyes off him. He was swaying back and forth
and flinched one more time although his face was already dead and still. He
did not stick his tongue out and his eyes were not bulbous, at least not more
than usually. He was completely serene and I was imagining that he could
now see all those from the village who had left us these days and that he
may even see my father. They were now all together and could laugh at what
had happened.
I do not know how much time passed before they found me, I just saw
that it was already dusk. I was lucky because no oneever came to Zvonko’s
house. That day precisely Pišta came to his house to borrow an extension
cord for the light above the kettle. He came in and right at the door saw me
sitting, my back against the wall and staring at the body with a petrified smile.
27
H u n g a r i a n
L e t t r e
•
S p e c i a l
E n g l i s h
E d i t i o n
Sp ring 2014
AN N APPLE BAU M
The region that experienced the
worst
APPLEBAUM,
Anne
Iron Curtain:
The Crushing of
Eastern Europe
1944–56
Doubleday, 2012
28
Once, in an attempt to explain the history of his
country to outsiders, the Polish poet Czesław
Miłosz described the impact of war, occupation,
and the Holocaust on ordinary morality. Mass violence, he explained, could shatter a man’s sense
of natural justice. In normal times,
had he stumbled upon a corpse on the street,
he would have called the police. A crowd would
have gathered, and much talk and comment
would have ensued. Now he knows he must
avoid the dark body lying in the gutter, and refrain from asking unnecessary questions…
Murder became ordinary during wartime, wrote
Miłosz, and was even regarded as legitimate if it
was carried out on behalf of the resistance. In the
name of patriotism, young boys from law-abiding,
middle-class families became hardened criminals,
thugs for whom “the killing of a man presents no
great moral problem.” Theft became ordinary too,
as did falsehood and fabrication. People learned to
sleep through sounds that would once have roused
the whole neighborhood: the rattle of machine-gun
fire, the cries of men in agony, the cursing of the policeman dragging the neighbors away.
For all of these reasons, Miłosz explained, “the
man of the East cannot take Americans [or other
Westerners] seriously.” Because they hadn’t undergone such experiences, they couldn’t seem to fathom what they meant, and couldn’t seem to imagine
how they had happened either. “Their resultant
lack of imagination,” he concluded, “is appalling.” 1
But Miłosz’s bitter analysis did not go far enough.
Almost sixty years after the poet wrote those words,
it is no longer enough to say that we Westerners
lack imagination. Timothy Snyder, a Yale historian
whose past work has ranged from Habsburg Vienna to Stalinist Kiev, takes the point one step further.
In Bloodlands, a brave and original history of mass
killing in the twentieth century, he argues that we
still lack any real knowledge of what happened in
the eastern half of Europe in the twentieth century.
And he is right: if we are American, we think “the
war” was something that started with Pearl Harbor
in 1941 and ended with the atomic bomb in 1945. If
we are British, we remember the Blitz of 1940 (and
indeed are commemorating it energetically this
year) and the liberation of Belsen. If we are French,
we remember Vichy and the Resistance. If we are
Dutch we think of Anne Frank. Even if we are German we know only a part of the story.
Snyder’s ambition is to persuade the West –
and the rest of the world – to see the war in a
broader perspective. He does so by disputing popular assumptions about victims, death tolls, and
killing methods – of which more in a moment
– but above all about dates and geography. The
title of this book, Bloodlands, is not a metaphor.
Snyder’s “bloodlands,” which others have called
“borderlands,” run from Poznan in the West to
Smolensk in the East, encompassing modern Poland, the Baltic states, Ukraine, Belarus, and the
edge of western Russia (see map on page 10). This
is the region that experienced not one but two
– and sometimes three – wartime occupations.
This is also the region that suffered the most casualties and endured the worst physical destruction.
More to the point, this is the region that experienced the worst of both Stalin’s and Hitler’s ideological madness. During the 1930s, 1940s, and early
1950s, the lethal armies and vicious secret policemen of two totalitarian states marched back and
forth across these territories, each time bringing
about profound ethnic and political changes. In
this period, the city of Lwów was occupied twice by
the Red Army and once by the Wehrmacht. After
the war ended it was called L’viv, not Lwów, it was
no longer in eastern Poland but in western Ukraine,
and its Polish and Jewish pre-war population had
been murdered or deported and replaced by ethnic Ukrainians from the surrounding countryside.
In this same period, the Ukrainian city of Odessa
was occupied first by the Romanian army and then
by the Wehrmacht before being reoccupied by the
Soviet Union. Each time power changed hands
there were battles and sieges, and each time an
army re- treated from the city it blew up the harbor or massacred Jews. Similar stories can be told
about almost any place in the region.
This region was also the site of most of the politically motivated killing in Europe – killing that
began not in 1939 with the invasion of Poland, but
in 1933, with the famine in Ukraine. Between 1933
and 1945, fourteen million people died there, not
in combat but because someone made a deliberate decision to murder them. These deaths took
place in the bloodlands, and not accidentally so:
“Hitler and Stalin rose to power in Berlin and Moscow,” writes Snyder, “but their visions of transformation concerned above all the lands between.”
Beginning in the 1930s, Stalin conducted his
first utopian agricultural experiment in Ukraine,
where he collectivized the land and conducted
a “war” for grain with the kulaks, the “wealthy”
peasants (whose wealth sometimes consisted of
a single cow). His campaign rapidly evolved into
a war against Ukrainian peasant culture itself, culminating in a mass famine in 1933. In that same
year, Hitler came to power and began dreaming
of creating Lebensraum, living space, for German
colonists in Poland and Ukraine, a project that
could only be realized by eliminating the people
who lived there.2 In 1941, the Nazis also devised
the Hunger Plan, a scheme to feed German soldiers and civilians by starving Polish and Soviet citizens. Once again, the Nazis decided, the produce
of Ukraine’s collective farms would be confiscated
and redistributed: “Socialism in one country would
be supplanted by socialism for the German race.”
Not accidentally, the fourteen million victims of
these ethnic and political schemes were mostly not
Russians or Germans, but the peoples who inhabited the lands in between. Stalin and Hitler shared a
contempt for the very notions of Polish, Ukrainian,
and Baltic independence, and jointly strove to eliminate the elites of those countries. Following their
invasion of western Poland in 1939, the Germans arrested and murdered Polish professors, priests, intellectuals, and politicians. Following their invasion
of eastern Poland in 1939, the Soviet secret police
arrested and murdered Polish professors, priests,
intellectuals, and politicians. A few months later,
Stalin ordered the murder of some 20,000 Polish
officers at Katyn and in other forests nearby as well.
Stalin and Hitler also shared a hatred for the Jews
who had long flourished in this region, and who
were far more numerous there than in Germany or
anywhere else in Western Europe. Snyder points out
that Jews were fewer than one percent of the German population when Hitler came to power in 1933,
and many did manage to flee. Hitler’s vision of a “Jewfree” Europe could thus only be realized when the
Wehrmacht invaded the bloodlands, which is where
most of the Jews of Europe actually lived. Of the 5.4
million Jews who died in the Holocaust, four million
were from the bloodlands. The vast majority of the
rest – including the 165,000 German Jews who did
not escape – were taken to the bloodlands to be
murdered. After the war, Stalin became paranoid
about those Soviet Jews who remained, in part because they wanted to perpetuate the memory of the
Holocaust. At the end of his life he purged and arrested many thousands of them, though he died too
soon to carry out another mass murder.
Above all, this was the region where Nazism
and Soviet communism clashed. Although they
had signed the Molotov–Ribbentrop pact in 1939,
agreeing to divide the bloodlands between them,
Stalin and Hitler also came to hate each other.
This hatred proved fatal to both German and Soviet soldiers who had the bad luck to become prisoners of war. Both dictators treated captured enemies with deadly utilitarianism. For the Germans,
Soviet POWs were expendable: they consumed
calories needed by others and, unlike Western
POWs, were considered to be subhuman. And so
25 YEARS WITHOUT TH E IRON COU RTAIN
STANO MASAR: TIME TO CLOSE
they were deliberately starved to death in hideous over the proper use of the word “genocide.” As not almost magical qualities. Nations nowadays cam“camps” in Poland, Russia, and Belarus that were everybody now remembers, this word (from the paign for their historical tragedies to be recognot camps but death zones. Penned behind barbed Greek genos, tribe, and the French cide) was coined nized as “genocide,” and the term has become a
wire, often in open fields without food, medicine, in 1943 by a Polish lawyer of Jewish descent, Rapha- political weapon both between and within counshelter, or bedding, they died in extraordinary el Lemkin, who had long been trying to draw the at- tries. The disagreement between Armenians and
numbers and with great rapidity. On any given day tention of the international community to what he at Turks over whether the massacre of Armenians
in the autumn of 1941, as many Soviet POWs died first called “the crime of barbarity.” In 1933, inspired after World War I was “genocide” has been the
as did British and American POWs during the en- by news of the Armenian massacre, he had pro- subject of a resolution introduced in the US Contire war. In total more than three million perished, posed that the League of Nations treat mass murder gress. The leaders of the Orange Revolution in
committed “out of hatred towards a racial, religious Ukraine campaigned to have the Ukrainian famostly within a period of a few months.
In essence the Soviet attitude toward German or social collectivity” as an international crime. After mine recognized as “genocide” in international
POWs was no different. When, following the Battle he fled Nazi-occupied Poland in 1940, Lemkin in- courts (and in January 2010, a court in Kiev did
of Stalingrad, the Red Army suddenly found itself tensified his efforts. He persuaded the Nuremburg convict Stalin and other high officials of “genowith 90,000 prisoners, it also put them in open prosecutors to use the word “genocide” during the cide” against the Ukrainian nation). But the camfields without any food or shelter. Over the next trials, though not in the verdict. He also got the new paign was deliberately dropped when their more
few months, at least half a million German and United Nations to draft a Convention on Genocide. pro-Russian (or post-Soviet) opponents came to
Axis soldiers would die in Soviet captivity. But as Finally, after much debate, the General Assembly power. They have since deleted a link to the genocide campaign from the presidential website.
the Red Army began to win the war, it tried harder passed this convention in 1948.
As the Stanford historian Norman Naimark exAs the story of Lemkin’s genocide campaign
to keep captives alive, the better to deploy them
as forced laborers. According to Soviet statistics, plains in Stalin’s Genocides, the UN’s definition well illustrates, this discussion of the proper use
2.3 million German soldiers and about a million of genocide was deliberately narrow: “Acts com- of the word has also been dogged by politics from
of their allies (from Romania, Italy, Hungary, and mitted with the intent to destroy, in whole or in the beginning. The reluctance of intellectuals on
Austria, but also France and Holland) eventually part, a national, ethnical, racial or religious group.” the left to condemn communism; the fact that Stawound up in the labor camps of the Gulag, along This was because Soviet diplomats had demanded lin was allied with Roosevelt and Churchill; the exwith some 600,000 Japanese whose fate has been the exclusion of any reference to social, econom- istence of German historians who tried to downic, and political groups. Had they left these cate- play the significance of the Holocaust by comparalmost forgotten in their native land.3
Some were released after the war and others gories in, prosecution of the USSR for the murder ing it to Soviet crimes; all of that meant that, until
were released in the 1950s. There wasn’t necessarily of aristocrats (a social group), kulaks (an econom- recently, it was politically incorrect in the West
any political logic to these decisions. At one point in ic group), or Trotskyites (a political group) would to admit that we defeated one genocidal dictator
1947, at the height of the postwar famine, the NKVD have been possible.
with the help of another. Only now, with the pubAlthough Lemkin himself continued to advo- lication of so much material from Soviet and Cenunexpectedly released several hundred thousand
war prisoners. There was no political explanation: cate a broader definition of the term, the idea that tral European archives, has the extent of the Sovithe Soviet leadership simply hadn’t enough food to the word “genocide” can refer only to the mass et Union’s mass murders become better known in
keep them all alive. And in the postwar world there murder of an ethnic group has stuck. In fact, until the West. In recent years, some in the former Soviwere pressures – most of all from the USSR’s new recently the term was used almost exclusively to et sphere of influence – most notably in the Baltic
East German client state – to keep them alive. The refer to the Holocaust, the one “genocide” that states and Ukraine – have begun to use the word
Nazis had operated without such constraints.
is recognized as such by almost everybody: the “genocide” in legal documents to describe the Sointernational community, the former Allies, even viet Union’s mass killings too.

(excerpt from a review on Timothy Snyder’s
the former perpetrators.
The chronological and geographical arguments preand Norman M. Naimark’s books in The New
Perhaps because of that unusually universal
sented in Bloodlands also complicate the debate recognition, the word has more recently acquired
York Review of Books, October 28th, 2010)
29
H u n g a r i a n
L e t t r e
•
S p e c i a l
E n g l i s h
E d i t i o n
Sp ring 2014
G REGO R SAN DE R
Winter Fish
30
It’s morning, half past four and already brighter than twilight, past dawn but
not yet day. I’ve slept well on the back seat of my car and I can hardly believe
that I’m standing here. On Kanalstrasse in Kiel-Holtenau. The alarm of my
mobile phone rang, still half asleep I pulled on my shoes and got out into the
morning. Completely alone, not a soul to be seen. The houses are still dark.
In front of me a couple of sailing yachts float beside a landing stage and beyond that, when one looks across the canal, the Förde glitters and in Kiel the
street lights are still on. The leaves of the maple trees above me further mute
the early light, but I’m certain it’s going to be a fine day. A summer’s day and
very hot. A day like yesterday, when the air was dancing above the fields, the
grass was honey-yellow and dry and I was surprised that the motorway didn’t
actually go as far as Kiel, that the last few miles are main road. I drove past
the city centre and then across the bridge over the Kiel Canal, which lies far
below, and it was bit like somewhere in America, a bit like the Hudson River,
except that the river below here had been dug.
A car drives slowly along Kanalstrasse. A wine-red BMW estate. The man
who gets out is wearing blue dungarees. He comes towards me and I think
that surely a fisherman doesn’t drive a BMW.
“Are you the son of my guy?”
“Your guy?”
“Well, Walter.”
We shake hands and I say: “That’s me. That is, not his son.”
“What then?” asks the fisherman and laughs. He seems already very wide
awake, his face is regular and his hair stands up like a grey brush. His features are neat and he doesn’t look like someone who goes to sea. As if he
knew what I was thinking, and as if he wanted to prove the opposite, he pulls
a pipe out of his pocket and a small green plastic tobacco pouch. He fills the
pipe, lights it and still doesn’t look the way I had imagined someone who
spends his days alone at sea. We both stand there awkwardly and I point to
the canal, where right by the lock a fishing boat is tied up. “Yours?” I ask and
it looks exactly like a fishing boat. White, with a steel railing, a wheelhouse
and the wheel itself is made of wood. That’s what I was prepared for.
“Yes, mine, but we’re not taking that today. I go out to the open sea with it.
When it’s herring season or sometimes for cod. Today we’re taking the wee
one. It’s in the harbour.” He gestures towards the lock island in the middle of
the canal and I nod and wonder where we are going to fish.
“Perhaps Walter has slept in. That happens to him now and again. Lately quite often,” says the fisherman and that his name is Josef Neuer. I would
really like a coffee. For a brief moment I would like to be sitting in my life, in
my kitchen, and not be standing beside Josef Neuer.
Yesterday Walter had still wanted me to spend the night with him. “I kept
an eye on you often enough, back then.” But that was too much for me after
the evening together almost twenty years later, and so I said something about
a hotel and was glad to be able to leave. “Don’t sleep in, my boy,” he called
after me, leaning against the door, drunk and eighty years old. A curious picture for me, who didn’t really have one of him at all any more.
“Come on, let’s go. Walter’s been out with me often enough,” says Josef
Neuer and taps out the pipe on the heel of his rubber boot. We drive in his
car through the gate on the lock island. He holds up an ID and says without
looking at me: “Because of September 11th,” as if that explained everything
and even fishermen in Kiel-Holtenau had to register with the CIA when they
enter a harbour. We cross the narrow iron bridge over the lock and the water
of the basin bounded by metal walls is full of jellyfish. They crowd together
like the sago in the cold cherry soup my mother made on summer days. “The
wind’s from the east,” says Josef Neuer. “It pushes the creatures into the lock
and into the canal. You catch hardly any fish in weather like this. It’s been
like this for days now. Everything full of algae and jellyfish.” On a stretch of
grass there’s a small red builder’s trailer and through the window at the rear
one can see nets and buoys stacked up to the ceiling. Neuer unlocks the padlock and hands me out rubber boots and orange oilcloth trousers. “Should fit.
They were my wife’s and she wasn’t big.”
What did he say and what does his wife do on board? Isn’t that bad luck?
I think and then we go over to a small flat boat with an outboard engine and
off we go, away from the lock, into the canal. Past warehouses, big concrete
silos and a shipyard. In front of us the motorway bridge stretches high above.
Four freighters in a row come towards us on the other side of the canal, slow
as giant beasts. They’re almost silent, only our little engine can be heard. The
sky is dove blue and the silhouettes of the trees on the canal bank are outlined against the yellowish-red strip of light on the horizon.
“So you’re still there,” Walter had said, when he called me in Hamburg a few
days ago, at my chambers. It was early evening and it was not unusual for
me still to be sitting at my desk and working. The secretary had gone and as
usual put the telephone directly through to me. The case in front of me was
straightforward and the documents unambiguous, when the telephone rang
and Walter spoke the sentence without any greeting.
I can no longer remember whether I was expecting someone to call,
whether I was surprised that the telephone was ringing, or simply reached
for it without thinking. Normally only Sarah rang at that time and we talked
briefly. And if I was going to be much later, then she passed on the children
to me, so that I could say good night to them. But Sarah wasn’t calling me
any more, not for weeks now.
I didn’t recognise his voice. Perhaps that isn’t even possible after such a
long time. Walter talked to me as if I must know who he was and had been
waiting for his call. “That’s long ago,” I heard myself say at some point, and
I saw him in front of me in Güstrow. As he was loading boxes into the pale
blue Ford Escort he had just bought in Hamburg and I was standing there
and watching him. “Why are you going now?” I had asked him and he had
replied: “You probably won’t understand it.”
“It’s all over,” I said. “You can go wherever you like and as often as you like.”
The garden in front of his garage was colourless and leafless. The year was
drawing to a close, and I think I was particularly confused because he was
leaving just before Christmas and as if he didn’t have any more time.
Walter was sixty then. I was thirteen and he was an old man as far as I was
concerned. We had only just got to know one another, six months earlier in
Güstrow. My mother had moved there with me, as soon as she got a reference, just as she had done every time. We had lived in Leipzig for three years
and now she wanted to give Mecklenburg a try. “It’s nice and quiet. We’ve got
Inselsee lake right at the door. The hospital has found a one and half room
apartment for me. And in the summer you can already find new friends.” She
tried to cheer me up, but she didn’t need to. I was glad to get away from Leipzig. I had no friends, or at least no one whom I would really miss, and the only
thing I held against her was that in her hasty changes of location she never
moved to Berlin again. Back to where she had given birth to me.
It was always easy for her to get a new job as a nurse and I don’t really
know what she was escaping. Whether it was restlessness, boredom, her way
of dealing with being imprisoned in the GDR, or whether it was after all just a
flight from the failed relationships in Leipzig and in Jena before that. She was
only 32 when we moved to Güstrow, I had been born when she was 19, and
none of her affairs got to the point that she had a second child. We remained
25 YEARS WITHOUT TH E IRON COU RTAIN
alone in a way. None of the men moved in with us, she kept me out of that.
The cost was that I had to stay alone at home relatively early, because she
had night duty or because she was with her boyfriend of the moment. When
I woke up in the early morning, however, she was always sitting in the kitchen
with a cup of coffee and a cigarette. She was still wearing her nurse’s uniform
with the name plate pinned above her breast, and she looked tired and somehow content. When I was at school she made my breakfast and in summer,
in the holidays when we both came to Güstrow, we both slept until midday.
We went together to the swimming pool by Inselsee lake and I dived headfirst from the nine foot board, I hadn’t dared do that in Leipzig yet. I bounced
up and down a little on the board, looked down and was only afraid that
I would do a somersault and land smack on my back on the surface of the water.
The town was small and seemed like a village in comparison to Leipzig, even if
it had a palace. Our apartment was in a panel construction building which had
only four floors, and I really got a room of my own, small and narrow, with a
view of the street and a lamp right in front of the window.
Walter lived nearby in a dilapidated villa. He occupied the ground floor
and his garden had fruit trees, bushes and a big meadow. Behind our house
the residents had little allotments on which they grew vegetables.
Walter worked in bed preparation at the hospital. That is, they brought the
used beds down to him in the cellar, the beds in which a sick person had lain
for days or had even died, and he disinfected them, made them up again and
put them in front of his cubicle like cars in a parking lot. He had applied for an
exit visa five years earlier and they had exiled him down here in the cellar. He
had been head of the sterilisation section for years, then they had demoted him
and put him in the remotest place there was in his department. He could have
got out of the way, withdrawn and looked for another job somewhere. But he
didn’t want to do that. Holding out in the cellar was probably part of it. My mother got talking to him after another nurse had said to him in that windowless
neon-lit corridor: “So you’re still here.” And he had roared back: “It’s not my fault.”
The fisherman throttles the engine and then turns it off completely. He
probes the bottom with a long metal hook. We are close to the bank, which
consists only of some raised sand and a couple of meagre bushes.
“Do you usually come out here with your wife?” I ask in the morning stillness, which is suddenly there after the engine was switched off. She isn’t alive
any more, I’m sure of that. I want him to tell it, and can’t say why. He said,
“She wasn’t big”. Wasn’t
Josef Neuer has found the net and begins to haul it up. “We always went
out together. For twenty years. When our lad left home, she came with me.
‘What am I supposed to do at home?’ she said. I wasn’t at all keen on it, at first.
And then she did know a thing or two. You set the nets here and the next
day they were full. Man, I thought,” he says and doesn’t finish the sentence
and doesn’t pull the net in any further either. “And last year she didn’t come
with me once, because she wasn’t feeling well, and when I come home, she’s
sitting there. Quite cold.”
I look at him and don’t regret my question. A car ferry with a bright red
rump and the words “Danube Highway” on it passes us. Neuer follows it with
his eyes and then hauls in the net again. He’s wearing blue rubber gloves and
the torn bodies of the jellyfish in the netting glitter in the sun like lumps of
ice. At last a fish, one with dark green stripes on its back. It’s not wriggling,
but seems rather to be stretching. Neuer slowly untangles it and says: “Catch
a perch, miss the rest.” And then we both laugh.
“So what are you, if you’re not Walter’s son? My lad’s coming, he said to me,
and that you always used to be fishing.”
“We were neighbours in Güstrow, perhaps more than that. Friends I mean.”
“Perhaps friends?” Neuer folds the empty net like a piece of laundry and
throws it down in front of him. He fills his pipe again and looks at me.
“Walter didn’t say much about Güstrow and over there. But when he did
say something, then it was about you and your mother. Never about the Stasi
or any of that stuff. Always about your mother and what a stroke of luck that
was for him. Such a beautiful woman at the end of his life, and that he could
be like a father to her son. A fine boy he called you. Only that your mother
didn’t want to come to the west with him, even when the Wall came down.
That she was too much of a coward.”
“He was too much of a coward to stay,” I respond and then I feel as uncomfortable as I did then, when I only thought it, as Walter was loading his things
into the car and a little later disappeared for ever. I didn’t want him to go, but
how could I have said it to him?
“What did you mean earlier: My guy?” I quickly ask Neuer.
“That’s just what one says. Walter helps me from time to time. When I sell
the fish in Holtenau. Or sometimes he gets bait for me, things like that.”
“My best friend is a fisherman here,” is what Walter on the other hand had said,
when he called me at the chambers in Hamburg, and that I should come and
go out with them and fish. I agreed. I was greedy for everything which interrupted my routine, my work at the office and my life at home. Since Sarah had
moved out, I didn’t feel good there. Six months earlier I would have found
a way to put him off.
On the day Sarah left me I went home as usual. Only later. That was the
way we had arranged it, as we had arranged so many things in the past six
months. Let the other have his say, ask questions, talk about oneself. The family therapist, whom we consulted at Sarah’s request, at some point asked her:
“Do you love your husband? You have to want to, otherwise we can save ourselves all this here.” She really didn’t know what to say to that and a few weeks
later she moved out. The children lived alternately with her and with me, and
when they were with me, I felt alien. As if I wasn’t their father at all, more of an
uncle. At least they still had their children’s room, it looked the same as always.
The worst thing in the flat on the day she moved out were the impressions
left on the carpet. A circle for a plate on which a flowerpot had stood, a rectangle for the Biedermeier chest of drawers, the small impressions made by
the dining table chairs, that looked as if made by dog paws. I couldn’t stop
looking at them. It was as if my family had gone shopping or to some sporting activity somewhere. Only these impressions were new.
Yesterday Walter only wanted to talk about my mother. That was soon clear to
me, once I was sitting in his attic flat in Kiel-Holtenau. I had driven from the
canal bridge towards the water. The street wound downhill through a quarter
of brick houses. Some had two gables and looked like two houses which were
joined together. I drove right down, as far as the canal and parked by the lock
island. Just where Kieler Förde meets the Kiel Canal there was a little café, an
isolated building, likewise made of brick and stuffed full of sea-faring objects.
It was late afternoon and inside a young couple were dancing the tango in a
room in which chairs stood against the wall just as at a school disco. They were
completely alone and the man wore a sand-coloured suit and the woman a
knee-length dark skirt. Most of the guests, however, were sitting outside in the
setting sun and drinking beer or wine. They didn’t look like tourists, but not
like people who belonged here either. Perhaps they were simply from Kiel and
come across the Förde, just to drink a beer in the evening after work. I sat down
too and soon didn’t want to go again. A Russian ship docked right in front of
us. The containers stacked on top of one another looked like toys which had
turned out to be too large. A sailor jumped ashore in order to moor the ship.
It was refuelled from a small boat and after a few minutes had departed again.
I felt as if I was in Holland or in England or in Denmark. I didn’t know
exactly but it was as if my reality had been slightly displaced, as if I was no
longer on track. I liked it, it was all I had wanted from the day and had hardly hoped for.
But then I did set out and looked for Walter’s address. He was very
pleased when he opened the door to me. His pale blue eyes lay beneath
bushy grey brows, there were tears in them and his voice shook a little as he
embraced me and said: “How nice that you’re here.”
A little later in his kitchen he pulled an octopus out of the pot. I had just sat
down and he lifted this huge creature up with a fork and placed it on a board
like a trophy. I saw the little red suckers on the octopus’ arms and the massive
skin-white body. “You have to cook it with three red wine corks because of the
tannic acid,” said Walter as if he was revealing a family recipe to me.
He cut up the octopus and poured a mixture of olive oil, garlic and parsley over the small pieces. It tasted wonderful, hardly like fish at all, and it
had a much more tender consistency than would have been expected from
its appearance.
“That’s the best fish that I’ve eaten recently,” said Walter and just to say
something I asked: “And you catch that in the Baltic?” - “Not at all,” said Walter and ignored the question and then talked uninterruptedly about my mother. He had loved her and I knew it, could see it with my thirteen year-old
31
H u n g a r i a n
L e t t r e
•
S p e c i a l
E n g l i s h
E d i t i o n
Sp ring 2014
eyes, and also Walter made no secret of it. He was out of the question for my
mother and that too was clear to me. I knew the type of men she preferred
well enough, and they never looked like Walter. She liked him, but kept him
at a distance. But he didn’t let himself be put off, brought her flowers and in
the evening stood at the door with a bottle of wine. We were never with him
in the villa, and I think Walter also felt safe with us. He was not only fleeing
his loneliness. On the first floor of the villa lived his successor, the new head
of the hospital sterilisation section and he used every opportunity to harass
Walter. Sometimes the lock on the front door had been changed, sometimes
he played military marches at two in the morning and now and then the light
was on in Walter’s flat, even though he knew he had switched it off on leaving.
“And your mother? What’s she doing now?” asked Walter and cleared the
remains of the octopus from the table. It was still very warm and he was
wearing a white short-sleeved shirt over a somewhat baggy pair of black cloth
trousers. He had undone quite a few buttons of the shirt and one could see
his soft old skin with its liver spots.
I turned my wine glass in my hand and looked at the rim which refracted
the light of the candle. “She’s doing well. She’s living in Munich. Started a private care service and is making good money. She married again, an Austrian,
who also works with her. And she had another child at the age of 38. ‘I was
a normal mother in the East, and now I am in the West as well,’ she always
says.” I looked at him and knew that he didn’t want to hear it, but I didn’t
want to make any allowances for Walter’s feelings.
We went on to talk about the old days. How he had taught me angling,
using a spinner for perch and pike, and how I squatted down and came very
close the first time he showed me how to gut a fish. It was a silver roach, the
fine scales of whose body made it look as if it was wearing chain mail.
I remember a day that summer particularly well. Long before the demonstrations in Leipzig and also weeks before the Hungarians opened the border. It was very warm, it was the weekend. The fence of our housing block
beyond the allotments bordered on a park and in a field there men were
playing football. Fat, unshapely men in loose knee-length shorts. In front of
the fence I was sitting on the roof of the rabbit hutch, which belonged to one
of the tenants of the house. I had one of the rabbits in my arm, a grey-white
one which I had kind of adopted from the day of our arrival till when it was
butchered just before Christmas. The roofing felt beneath me was warm and
I was sitting cross-legged and my mother and Walter were standing behind
me and we roared and shouted and spurred the players on. Then I saw the
man who lived above Walter and did all those unbelievable things coming
through the garden. He was wearing gym shorts and a white vest and he was
holding garden shears in his hand. I had never seen him so close and as our
eyes met, he briefly stopped short. At that moment my mother put her arm
around Walter and also looked over, and that was the only affectionate physical contact there had been between them in those six months.
TRANSLATED BY MARTIN CHALMERS
(Sample translation by the courtesy of the Wallstein Verlag)
JESÚS CARRASCO
Out in the Open
32
He recognized the sound of the schoolteacher blowing his nose, almost
The voice of a man a few meters from his hole brought the boy out of his reverie. It was the schoolteacher. He was talking to another man walking a little on top of his cave. A muffled honking that made his dry handkerchief ripway off. The boy observed how his heart raced and blood pumped furiously ple and which, at school, forced the children to suppress their laughter. The
through his veins. The pain, after hours hunched over, was driving him out- shadow of the man’s skinny frame passed over his roof. He closed his eyes
side. He considered the option of bringing the matter to a close there and and gritted his teeth while the man relieved himself over the pile of sticks.
He waited for a long time to pass from the moment the echo of the last
then and thus end his discomfort. He hadn’t killed anyone, he hadn’t stolen,
he hadn’t taken the Lord’s name in vain. He was on the verge of lifting the voice to depart the area faded away. He wished to be sure not to encounter
branches that covered his hole in order to attract the attention of the men anyone when he lifted the branches, and was determined to hold out for as
closest by. One of them would order to other to be silent before turning long as it took. The hours beneath the earth, his hair matted with the schoolhis head to aim his hearing in the direction of the noise. Their eyes would teacher’s urine, the hunger that washed over him for the first time, none of
meet. They would advance stealthily towards the pile of sticks, unsure as to this was enough to make his determination waiver for the dark flower of his
whether they would find a rabbit or the lost boy. They would then separate family still gnawed at his gut. He fell asleep.
When he awoke, the sun was at its highest point. The harsh midday light
the branches and see him down below, hunched over on his stomach. He
would pretend to be out cold, which, together with the flecks of mud, his penetrated his roof of branches, bathing his knees in pale shafts of light, in
damp clothes and filthy hair, would set the stage for his triumph. He would which the dust hovered. He felt his muscles relax as soon as he opened his eyes
secure himself at least one moment of glory. Short-term gain for long-term and thought that it was precisely his body that had brought his dreams to an
pain. The others would then come, summoned by the men’s cries. His father end. He calculated that he must have been down there for seven or eight hours
would soon make his appearance, panting, at first beside himself and ready and decided he needed to get out as soon as possible. Very slowly, he raised his
for action. They would form a throng around the boy that would almost leave head, his hair brushing the cover. His neck was like a rusty hinge. He sat up at
him breathless. A struck match, ablaze, no sign yet of the soft flame that must an arthritic pace and parted a few twigs to scan his surroundings and confirm
ultimately devour the wood. They would disinter the boy among shouts of that no one was around. He could emerge and carry on northwards, where he
joy. Around him, manly embraces would cause small clouds of dust to rise knew of a watering hole to which the drivers led their mules to drink. Perhaps
on the men’s backs. Later, the return to the village on a stretcher among there he could hide among the reeds and take advantage of a moment’s distracworking men’s songs and skins of warm wine, the father’s chafing hands on tion to slip inside a salesman’s cart, in among the pots and pans and underwear,
the boy’s small, brown chest. The joyful preamble to a drama that would only to reappear many miles from the village. He knew, however, that reaching
carry them all to the inn and, later, each man to his home. In the end, the the drinking hole would mean crossing open terrain in the full light of day with
thick stone walls that supported the roof and cooled the rooms as the sole the occasional stack of stones as his only refuge. On the plain, any shepherd or
witness. A common prelude to his father’s well-worn belt. A copper-colored hunter would recognize his feeble frame as that of the lost boy. He had therebuckle slashing through the dank kitchen air, as fast as it was incapable of fore no choice but to continue hiding out until evening fell, when his wiry limbs
catching the light. The image of his fake prostration at the bottom of the pit could pass for a parched bush or a dark silhouette cast by the fading orange sun.
He replaced the branches and curled up into himself.
turned against him.
25 YEARS WITHOUT TH E IRON COU RTAIN
A N A M A R G A R I DA D E C A R VA L H O I N T E R V I E W E D BY I S A B E L L U C A S
Frightening freedom
To have the freedom of form and language that
journalism does not provide in a book about mismatches and imperfections. That’s how Ana Margarida de Carvalho speaks of her literary debut,
Who Cares for the Hunger of the Sea, and confesses having felt the dizziness of total freedom.
Initially there was an invitation, and the fear to accept it. A journalist with the ease of writing does
not guarantee a good writer and she not only
knew that, but made sure she did not fall into
the cliché of the journalist who also writes fiction.
But Ana Margarida de Carvalho, after 20 years of
journalism, accepted and wrote a novel about “imperfections” from the memories of a survivor of a
concentration camp in Tarrafal (Cape Verde). Fiction,
it should be noted, with real facts and a precise geography in a registry that assumes itself as experimental.
PÚBLICO
It’s a recurring question to a journalist who has only now started doing fiction:
what did you set out to do with literature?
ANA MARGARIDA DE CARVALHO 
Something
I didn’t ever have in journalism: an immense formal freedom. This book is full of imperfections,
but also full of experiences It gave me this immense freedom to experience a language sometimes more rural, more Beckettian, sometimes
more stripped, other more lyrical, or more absurd.
It gave me great pleasure. To write at my will, with
the words I wanted. Hence the book is a bit uneven. There was a novel that served me as a model,
The French Lieutenant’s Woman by John Fowles
(1969), adapted for the screen by Harold Pinter
(directed by Karel Reisz in 1981, starring Meryl
Streep and Jeremy Irons).
It is one of the books of postmodernism. Why

that one in particular?
It is very innovative in the way of writing. There

is a voice from the ninetienth century Victorian
England. This without losing the look of the twentieth century. There’s an influential narrator who
meddles with the reader, who may want to reverse
the march of things, and can afford to use the language he wants. I think it’s fantastic that there was
an adaptation in the 80’s by Pinter and the extraordinary work that was done with these two voices,
to get two different times and a free narrator, who
intervened and could comment on the narrative.
In your book, these two voices, each in their

own time, are Joaquim, the survivor from Tarrafal, and Eugenia, the journalist who is going to
interview him. What came first, the characters,
the story, or the way to tell the story?
Perhaps simultaneously. I had a very cinematic

idea for many years. A man threw some love letters
from a moving train and these letters were found
by a messenger that would deliver them to the person to whom they were intended. That person ends
up loving the messenger and not the author of the
letters that eventually departs. That was my idea.
From there I thought: I won’t do it in an unreal
country, in an unreal time. And I started looking for
answers to questions. How does a person survive
being held incommunicado for something like ten
years? Being arrested? Which stage in history could
someone be arrested and separated from society
without any contact? During the dictatorship, in
Tarrafal. How is it that a person would get in there?
That is how I came upon the revolt of glassware
workers in Marinha Grande, on January 18, 1934.
The real meddling in fiction… Did you do a

lot of research?
In my news magazine, Visão, and whenever it

was necessary to work on old antifascist resistants,
I was almost always chosen and I did them with
a lot of pleasure. I already had a storage of such
stories. I met former tarrafalistas, man who had
met in the revolt of Marinha Grande, heard many
stories of resistance, of tortured people, of prison
environments.
Was Joaquim born out of this experience as

a journalist ?
I did not intend Joaquim as a tribute to those

people and maybe this isn’t completely fair.
I wanted to do a book about imperfect people
and this Joaquim is extremely imperfect, unhappy, annoyed at being there and acting on instinct.
He only reacts through contradiction, denies
everything. But I wanted the characters to change.
Thus appears the love story?

Or unloving. The boy meets girl story is about

a boy that doesn’t meet a girl, And a girl that
doesn’t meet a boy. There is no chance.
You speak of Joaquim and Luisa. But there

is another story, Joaquim and Eugenia. Another
impossibility.
Yes, they are two beings from different cen
turies. There is a little hint of something that approaches them, a twist that might possibly have
happened, but that can not continue, because
their love was truly impossible. Those are literarily the most exciting. It is much more a story of
stubbornness and Platonism than physical closeness and sex. I did not want to go there.
And why not?

It is expected that women write about intimate things. I did not want to do that. May be
giving some thought to what Orson Welles said,
that he would never shoot someone making love
or praying. I do not feel capable of writing such
a scene, intimate, without falling into a cliché.
And I did not want to expose anything … I think
there are already too many things about me.
In Eugenia, the journalist?

Yes, some. It is perhaps inevitable. Starting
with the pronoun (laughs), an “I” which unmasks
me (laughs). That ‘s not me, but I could have concealed myself better. She is also a journalist, although she works on television. In the beginning
she was supposed to be just a frivolous journalist
who does not care for anything she does, but the
character eventually grew and achieved an almost
parallel dimension to Joaquim.
The cliché about the writer who says the char
acter escaped him?
Maybe the writers like to make the process,
more romanticized, more mysterious. But I can’t say
that. I guess I always had enough control over her.
The book is full of contagion from music,
movies, other books…
I let them be. I did not run from them. I took

them. I feared that people would find that pretentious. There is a risk.
How do you flee from self-censorship?

Thanking the possibility to escape the standardization of writing that is increasingly the same,
especially in journalism. To be abIe to do what I do
is a frightening freedom, a sense of abyss. It gives
you vertigo. I was full of insecurities until the last
minute. I came to think that perhaps it was better
to use a pseudonym and not assume the book, but
that was a weird and preposterous idea. I showed
the book to no one. It was an act I kept secret.
Didn’t you even say you were writing ?

No. I showed one chapter to my oldest son.

Showed an initial part to Maria do Rosário [publisher]. She told me to “advance” and gave me an
instant assurance.
And you didn’t show it to your father [the
writer Mário de Carvalho]?
I showed him the first few pages. And after

that the end, to see if there was any gross mistake.
What was the reaction ?

He does not shy away from making harsh crit
icism. When he doesn’t like it, he get pretty ferocious. Maybe it’s a family tick. We are not very lush
in the manifestation of our emotions. He said:
“I like it”. It was a relief. It gave me some confidence.
Do you perhaps feel like his heiress?

I do not dare to make such comparisons. My

father is in another galaxy. It has nothing to do
with this book. But what inspires me, in fact, are
the words. I like to see the genealogy of words
and find new ones.
Do you always write with a dictionary close by?

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Oh, yes. I really like dictionaries. The idea of

finding the exact word is very important and I’m
always searching for it. It is perhaps where I commit the most. Another thing I find very important
is writing under a thrill. Not saying it’s necessary
to live the emotions of which I’m writing because
that would make me go crazy. I don’t think you
should write in a neutral way. For me, the fastest
way to get or cause me an emotion is listening to
music or reading poetry. That triggers anything.
When you were writing, did you envision an

image of who could read it?
No. Once Lobo Antunes told me something in

an interview that I found very interesting. He told
me that there are books that speak and books
that hear.The books that speak are evil and those
who hear are good.
I wonder in which category you put yours…

AMC: I wish my book is one that hears.
This is a book dictated by memory.

Yes, I wanted it to be. And so it is a book with

almost no dialogue. That was the idea, to tell a
story as if in thought. A drift. We think in a chaotic way and by association of ideas.
Do you know Tarrafal?

No.
 I did not think it was fundamental. I’ve documented myself, I met many people who came from
there. My father was also a political prisoner. It was
normal for me to have a parent in prison, during the
dictatorship. I set forth to write a novel, not a journalistic document. The journalist who writes has a terrible stigma often associated with things that do not
have any taste for. I told you that in this book there
are no codes, no secrets and no shadows. I did not
even try to make this a historical novel. Carlos Drummond de Andrade said that there are books that are
meant to fill a space on the shelf. Obviamante it is
not mine. I am an insignificant being.
But from now on, for example, it will likely

be on the shelves next to your father. As you both
share the same literary name?
If I arranged the books in an alphabetical order…

My cupboards are crazy. I made a book. I’m glad if
people like it, but I think it is full of imperfections.
Do you re-read?

I avoid it, because I get very distressed. I see

things that I think I should not have done, beginner errors.
Which ones do you mean?

I won’t tell to see if no one notices. (laughter).

It has too much a fascination for freedom. There
is the idea that a good book is one that rewrites
itself. I didn’t rewrite anything. Perhaps removed
some part or another, but I did not have this depuration job. I wrote the first chapter and continued. If the good writer is one who rewrites, I’m
still far from that stage. I still just write. And this
thing of using several different languages, I find it
to be beginners. As a kid who suddenly has a big
space to play and wants to try everything. I did
not write one of those books that I admire, that
when you shake it, nothing comes out, because
nothing in there is accessory. There are things
here that could fall if we shake it.
(Published in the daily
newspaper PÚBLICO, in May 2013)
H A R A L D DA R E R
If You Lie down with Dogs…
34
Mr. Norbert spends every morning at his breakfast table, chewing at leisure the letter from the Retirement Insurance Office is that the only two letters
on his croissant, except for Fridays, the day on which a legal order requires he has received in his entire life until now both contained awful news. What
him to attend the aforementioned Men’s Outreach Clinic. Previously he had is more, another letter from the Retirement Insurance Office sent to a forcrammed it into his mouth so as not to be late for work, but now any pres- mer colleague from work had proved to be a virtual sentence of death. This
sure to arrive on time had fallen by the wayside, meaning that he no longer man had called every day before killing himself, despite the fact that, at the
had to eat it in full automatic mode but focused, as he chewed, on the fact office in earlier days, he had never said anything to Mr. Norbert outside of
that he was, in fact, chewing a croissant. Three months ago he received a the usual pleasantries like good morning, bon appétit, and goodbye. In Mr.
blue letter – the term the employees and workers used for the feared termi- Norbert’s recollection, the man had done nothing but sit in the cafeteria, sination letter – from his longtime employer Wiener Linien Limited Partner- lently chewing on his sausage sandwiches. After his dismissal and the conseship, prescribing a forced vacation for Mr. Norbert to enable his “convales- quent adverse communication of the Retirement Insurance Office regarding
cence,” as the management of Wiener Linien Limited Partnership referred to his application, he was forced to take a job as ticket-taker in a movie theait at the time. Until the completion of his convalescence and a clarification ter, sent there by the employment bureau, as he related to Mr. Norbert. This
of the causes of this most regrettable incident, they explained, putting Mr. was apparently enough for him to call Mr. Norbert practically every day to
Norbert on alleged “sick leave” three months ago now, a period in which he complain about this job that had been forced on him, as he put it. Drudgery
has become quite accustomed to focused chewing of his croissant at break- and slavery – an abasement of humanity, in his words, adding that the comfast time. On his left is a stack of newspapers, since he has also grown accus- bined cinema and shopping center was nothing but a feel-good concentratomed to reading the major Austrian dailies every morning – less out of in- tion camp built by the entertainment industry for the mentally impaired. Voterest in political or international events than as a way to pass the time, and luntary mongoloids and the like, as he put it, his voice growing to a shout by
because the monotony of this time-killing has made him crave to feel some- the end of the call. Then he stabbed himself. For these reasons, Mr. Norbert
thing through these mostly lurid, and sometimes gruesome stories he found has been avoiding opening the letter from the Retirement Insurance Office.
in the human interest and panorama sections of the papers. On his right is In time, he thought, in time.
Naturally I am aware that you are here by court order. I will not pretend
his beloved mug of café au lait, without which he cannot even imagine (as
he often says) beginning the day. On the floor beside his chair lies Kreisky. otherwise. Even so, you will be treated here just like any of the others who
Kreisky is Mr. Norbert’s wirehaired Dachshund, simultaneously his com- come voluntarily. But this will not work to your disadvantage; on the contrapanion and only friend. Mr. Norbert takes his breakfast with Kreisky, and ry, our therapy can only do you good. Take from it what you really need. BeKreisky alone. He is quite certain that Kreisky is the only possible partner lieve me, I’m speaking from experience. And experience has shown me that
for an intelligent conversation. So this is what a typical Norbertian breakfast therapy sessions – even mandatory ones – can be a considerable help to the
looks like. In recent days, between the stack of papers and the mug of café client in managing everyday life. But having the will to do it is an absolute
au lait, there has lain a letter from the Retirement Insurance Office. So for prerequisite. Nothing works without the will. You must understand that. The
three days, Mr. Norbert has stared at the unopened letter, unable to bring courts may require you to show up here, but cannot force you to let yourhimself to open it, although his mother always admonished him Never put self be helped, am I right? I always say that a wound needs to be bled. Some
off till tomorrow, etc., etc. For Mr. Norbert, the primary reason not to open people say I’m too lackadaisical about it, but there you are: bleed it, clean it,
25 YEARS WITHOUT TH E IRON COU RTAIN
bandage it, and let it heal. Most of them won’t let it bleed out. They just bind
up the wound so no one can see it, and all of a sudden you’ve got a salad of
pus. So nothing works if you don’t bleed it, as I said. But you don’t have to
talk to me. Talk to someone else if that’s easier for you. Someone you trust.
Many people find that easier. And sure, why not? A dog is man’s best friend,
isn’t that how the saying goes? You don’t know where to start? Whenever and
wherever you want to!
TRANSLATED BY JIM TUCKER
TOMÁŠ ZMEŠKAL
STANO MASAR: AFTER BEUYS
Love Letter in Cuneiform
The plane was of Russian make, old and creaky, and Jiří had the distinct Czech passport. Of course it was written there that he had been born in Lonfeeling that the rivets holding together the sheets of the fuselage were ex- don, so the officer carefully inspected every page, weighing it in his hand,
periencing material fatigue. When they flew over the border, the captain an- then looked up at Jiří. Jiří gave him an encouraging smile. At the airport in
nounced that they had flown over the border. As they made the approach to Paris, everyone smiled. In Rome, Düsseldorf, even Israel, they smiled. Not in
Prague, the flight attendant pointed out Karlštejn Castle on the right-hand Prague. In fact the look on the policeman’s face gave Jiří the feeling that he
side of the plane. Jiří gave his neighbor an apologetic smile and leaned across had done something wrong, so he stopped smiling in case the officer conhim to look out the window. From this height, it looked even more photo- sidered it an insult. After thumbing through the passport one last time, the
genic than on the postcards. A passage from the tourist guides suddenly policeman turned to the page with the personal information. “Born in Loncame to mind: established in 1348 as a place of safekeeping for the crown don,” he said. Jiří wrinkled his brow to indicate he didn’t understand if it was
jewels by Charles IV, King of Bohemia dash Holy Roman Emperor, known to a question or a statement. “Hmmm,” the officer said. He picked up his rubthe Czechs as otec vlasti, father of the nation, which was something between ber stamp and applied it to Jiří’s passport with no change in expression. It
a title and a sign of respect. Impressive.
dawned on Jiří that this man, in this airport, never smiled at anyone. Clearly
As the plane entered turbulence it began to shake and buck. Jiří regretted his uniform didn’t give him much opportunity. Its forest green was too much
having eaten lunch instead of following the example of the Czech passengers of a constraint. It was like he was waiting for an armored transport carrier to
and ordering beer or some other alcohol. The plane landed. It was drizzling surface from a trench camouflaged in branches, so he could hop in and go
rain. A bus drove across the runway to pick them up, and carried them to the barreling down the runway to defend some national interest. He tossed Jiří’s
terminal. They waited until a representative of the airline appeared, opened passport onto the counter with contempt and called out: “Neeeeext!”
a door, and told them to have their passports ready. He said everything twice,
It wasn’t a very encouraging beginning, Jiří thought. It had been over two
in Czech and English. He made two mistakes in English, but his accent was years since the Velvet Revolution, but apparently the news hadn’t reached
better than the one of the airline representative in Paris, where Jiří had been the airport yet. But so what. This is my first time in Eastern Europe, I can’t
on his last trip, and unlike his French counterpart, at least the Czech man complain, Jiří thought, then quickly corrected himself. I mustn’t say “Eastern.”
was trying to make himself understood. Jiří took it as a good sign.
Mum and dad were always a bit touchy when it came to that. “Central” is betIn the room next door were two glass booths with policemen sitting in- ter. Yes, that’s it. Central! Central Europe!
side them. The passengers formed two lines and approached the booths
He picked up his suitcase and duffel bag from baggage claim and walked
one at a time, laying their passports down on the counter. The policemen’s out into the main hall. A crowd of about thirty people stood waiting for pasuniforms were dark green with red shoulderboards. No smiles. They looked sengers from the London flight, five or so holding signs. None of them had
strict, serious, funereal. Jiří’s turn came and he handed the policeman his his name on it. Květa probably hadn’t arrived yet, Jiří thought. He scanned
the hall one more time and went to change some money. He bought a can of
Coca-Cola, sat on a bench, opened it, and took a sip. After ten minutes or so,
the cluster of people waiting had dispersed. A gray-haired woman of about
sixty stepped up to him: “Are you Jiří by any chance?”
Jiří looked her up and down. She had on a three-quarter-length coat with
a fur collar that in England would have had its owner ostracized from society
for cruelty to animals. Jiří tried to reassure himself it was fake.
“Yes. Yes, I am. Jiří Nováček,” he said.
“I’m Květa Černá. I think I’m your aunt.” She went out of her way to pronounce every word carefully. He was a foreigner, after all.
“Dobrý den,” said Jiří.
“Dobrý den,” said Květa, bending over to shake his hand. A reconnaissance
of the cuffs on her sleeves revealed that they were fur as well. Glancing into
her eyes as he shook her hand, he realized he had never seen eyes like hers
before. Emeralds are green, aren’t they? Jiří thought. Having never actually
seen an emerald before, he couldn’t be sure.
Květa gestured toward the door, and he followed her out with his bags.
Excerpt from Chapter 14, Love Letter in Cuneiform, by Tomáš Zmeškal
Forthcoming from the Margellos World Republic of Letters series at Yale University Press
TRANSLATED BY ALEX ZUCKER
(Excerpt from the novel forthcoming from the Margellos
World Republic of Letters series at Yale University Press)
35
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O N D R E J S T E FÁ N I K
A Fingerless City
Peter stopped, with his lights trained on the No Parking sign. The trio got
into his Toyota. Suspiciously, Peter threw a sideways look at Albert. As a
journalist he was not pleased that their search team had picked up another
member. Come to that, he wasn’t thrilled with the She-wolf’s presence either. The more people, the more problems. This was a serious matter, not an
amusement for Edo’s acquaintances. He started up the Toyota, and the engine squealed like a frightened pig. On the way Albert entered into debate
with Peter. He presented his theory of ritual murders, of a conspiracy, and
of a sect that worshipped Rubik cubes. Peter did not try to argue with him.
He asked Albert what he thought of the fact that the psychopath was killing
left-handers. Albert explained to him that the left hand is the devil’s hand,
which means that the Devil himself painted da Vinci’s Annunciation; Microsoft too had come into being by the devil’s hand, and some people simply
don’t find devils to their liking. Edo merely listened in silence. The car meandered through the streets for a while before they found the premises of
the Elite Club of Left-handers. The Elite Club resided not in a castle but on
the ground floor of an old five-storey apartment block. A bell marked Elite
Club of Left-handers sat in a row with the bells of ordinary residents. There
was a printed notice on the dirty glass of the main entrance. It was not of the
classic type, announcing a residents’ meeting or an inspection of gas meters.
Under the words NOTICE TO RESIDENTS there was a printed quotation
from Nietzsche.
NOTICE TO RESIDENTS
For some time now, our whole European culture has been moving as towards a catastrophe, with a tortured tension that is growing from decade to
decade: restlessly, violently, headlong like a river that wants to reach the end,
that no longer reflects, that is afraid to reflect.
Brother Nietzsche
36
Albert and the She-wolf found this highly amusing. Peter was uncomprehending. Edo rang the bell. Peter introduced himself as Peter Sitárik, someone
who had arranged a meeting here. The left-handers let them in. The doors
were opened by a man of about forty in a green tracksuit combination. Edo
had never imagined that any left-hander would make such an exotic impression on him. And yet the fellow looked quite ordinary, like an engineer, or a
building foreman, or something like that.
“Hallo. Mr. Hrdumalakov is in the toilet, you’ll have to wait for him in the
meeting room,” the fellow in the tracksuit informed them, pointing to the
end of the corridor, then he slid through the four of them out onto the steps,
slamming the door behind him. He looked like he was running away.
Edo examined the long corridor. It was too long, almost hospital-style.
Strange to find it in an apartment block. Framed photos of people, evidently
famous left-handers, hung on the walls. For example, Obama, Hugo Chavez,
Gandhi, Benjamin Netanyahu, Benjamin Franklin, J. F. Kennedy, Queen Elizabeth, Prince Charles, Rockefeller, and more. At the end of the corridor there
was a wooden door – here there were no other doors. The quartet moved
along the red carpet towards the solitary door. Beyond it they found a spacious living room with leather chairs and a massive table. Squeezed along the
full length of one wall there was a smaller office table with a Mac and a large
bookcase. By another wall there was something that looked like a small kitchen. Office, meeting room, and kitchen all in one. No more. Edo was wondering where in God’s name the man with the name one couldn’t remember had
gone to the toilet. So far as he could make out, the entire elite club consisted
just of one corridor without a door and this room. Albert was the first to sit
down in an armchair. The others followed suit. After a while the door opened
quietly and a grey-haired man entered the room, quite small, with the silver
moustache and beard of the Emperor Franz Jozef.
“Good day, gentlemen... excuse me, naturally, I welcome the lovely lady
also. Unfortunately I do not have very much time. In a while I have a meeting concerning our new logo. I’m curious to see what that fellow has come
up with,” he said in an affable voice, and successively offered all of them his
little hand. He had a symmetrical face, carved into sharp angles like a wooden puppet.
“Is he a left-hander?” Albert asked. Peter looked at him with abhorrence.
“Who?” The Emperor did not understand.
“Whoever made your logo,” Albert clarified.
“Naturally,” the Emperor said, smiling pleasantly.
“Why do you think we’re under threat?” he asked. He was looking around
for the person who had called him.
“That Bratislava killer murders left-handers. I think you ought to know
that,” Peter said.
“Really? I didn’t know that. Thank you for the information. And if I many
enquire, which of you called me?” the Emperor asked, continuing to smile
like a marvellous ancient from a fairytale. Peter had been expecting some
more radical reaction from him than an amiable smile.
“I did. My name is Peter Sitárik and I write about that killer for the newspapers, but I mentioned that already when we spoke on the phone. These
are my friends, they’re helping me,” Peter said, introducing himself and the
others somewhat belatedly.
“Haven’t you received any threatening letters or telephone calls lately?
Hasn’t anyone harassed or menaced you?” Peter asked.
“Wouldn’t you like coffee or a mineral?” the Emperor asked, instead of
replying.
The quartet declined.
“We haven’t registered anything like that, no one has...” the Emperor said.
Albert interrupted him. “I’d like a mineral water, after all,” he said. Peter skewered him with his eyes. The Emperor rose, went to the small fridge and took
out a half-litre plastic bottle of mineral water. He gave it to Albert, who didn’t
even thank him.
“How do you know that his victims were left-handers?” the Emperor enquired, just by the way, without any particular urgency.
“We know,” Peter said.
“Don’t you have any enemies, someone you expelled from your club,
someone who might have a personal grudge against you?” Peter continued.
“It’s more that we don’t have sponsors,” the Emperor joked.
“Why is he killing left-handers?” the She-wolf asked.
“That could have a number of reasons.” The Emperor stopped smiling.
“For example?” Edo piped up.
“For example, that he’s a frustrated right-hander,” Albert replied on the
Emperor’s behalf, and continued, “May I also ask something?”, aiming an
ill-mannered finger at the Emperor, as if he wanted to shoot him.
“What are we going to do with the right-handers when we come to the
helm? Will we send them to labour camps, or will we keep them to polish our
boots?” Albert demanded. Everyone in the room turned pale.
25 YEARS WITHOUT TH E IRON COU RTAIN
DA N I E L B A N U L E S C U
The missing lady rowers
of Lake Snagov
IN 1981, NICOLAE CEAUSESCU built himself a holiday palace on Lake Snagov. Shortly after the President began spending his Saturdays, Sundays and
some weekday afternoons in his palace at Snagov, the lidos along the entire
shoreline of the lake thinned out and then disappeared. The restaurants in
the vicinity of the palace were closed down. Rowing or swimming in front
of the palace when the Secretary General was in residence was banned. The
buildings in immediate proximity to the palace were demolished, and any
international flight paths that passed over the palace were diverted. From
1986 onwards, even the canoeing and kayaking lessons that had previously
taken place on the lake were abolished. And so Marcel Sucu, who worked
as a kayak instructor at the Willpower Sailing Club, not only had no more
lady owers to tamper with, but had also been on the brink of becoming jobless. All the sailing clubs around Lake Snagov had been evacuated. In the
end, Sucu Marcel not only didn’t lose his job, but he also even sweetened his
routine to the maximum. For three years he had been on permanent leave
from work, with the exception of short periods, of between one week and
three months, when he nonetheless had to attend kayaking and canoeing
contests on the other lakes around Bucharest. In all the commotion of the
changes, the equipment storeroom and boathouse of the Willpower Club
had, by some error, remained in service. Having eluded the vigilance of the
first evacuation measures and advantaged by the cessation of all sporting activities on the water, the storeroom continued to exist under the protection
of inertia. And the two employees of the Willpower Club went on receiving
their wages, because they had been assigned to this particular work point.
As early as October of 1988, White Swallow-Wort had asked Marcel Sucu
to wangle it so that he was moved to the phantom storeroom. A month later,
Sucu managed to get a transfer there, in the dual capacity of deputy trainer
and storeroom man. In the end, he got to know the area, the rules, and the
people as well as any local.
“You go in alone,” said Sucu, elegantly unlocking the door of a permanently uninhabited two-storey villa.
“I’ll go and open the storeroom, because there’s a chance that no one will
have turned up to work today.”
“Where?”
“Wherever you like. Make yourself at home.”
Left alone, White Swallow-Wort took his shoes off by the door and, with a
gait that was more silent than a tomcat’s, he examined first the ground floor
and then the entire villa, from basement to attic. He chooses the first-floor
drawing room, draws up a chair to the edge of the large window, and scrutinises Ceausescu’s palace, exhibited in almost its entirety on the other side of
the lake. He examines the white hulk of the palace, with its Spanish or Moorish details, not even he is sure which. Strangely, the palace has only one storey. There is a belvedere on the right side, the one furthest from him. On the
other side of the building there is a fountain, whose tuft, like foaming champagne, he can glimpse above the roof. There are huge fields, the grass discoloured in places, where the helicopters land and take off. There are paths,
mainly covered with white gravel, and mostly hidden from his view, masked
by islets of shrubbery, with five-feet-high lamps mounted directly on the lawn,
by clumps of trees, or by the annexes to the summer house, jetty and garages.
On three sides, at the edge of the fields, the palace is surrounded by woods,
and on one side by the waters of Lake Snagov, now gleaming blood red.
“So, we’re going to shoot him just because we don’t like his cooking?” says
Sucu, settling into the second armchair, pointed toward the window through
which dusk can be seen settling over the palace.
“Pardon?”
“Isn’t he the one who decides what people put on their table? He’s the one
who draws up the menus for everyone. And no one in Romania likes what he
eats nowadays. In a way, he’s going to be shot because of his bad cooking.”
“If you’ve changed your mind, tell me straight out, Mr Marcel.”
“It’s always good to look at a problem from as many points of view as possible. It brings you inner satisfaction. Ceausescu the cook, strolling among us
with a ladle, from which he doesn’t want to dish out any soup. All his soup
goes to fatten foreigners… Have you ever known me try to wriggle out of
anything? But you have to have an inner satisfaction, to view things in the
world as strange as they are.”
“How do they seal off the lake?”
“Always half an hour before Ceausescu arrives. A speedboat takes up position in front of the palace.”
“Men?”
“Three, but that’s not important. When Ceausescu goes inside the palace,
another two small boats flank the first motorboat. And the guards deployed
in the woods gather around the palace.”
“What does that mean?”
“In the first line there are twelve men. I’ve counted them. Everything else
is guesswork. Because the ones who advance into the woods don’t show
themselves. And a part of those who make up the team, without you knowing
it, are locals, who just keep a watch glued to their windows.”
“Don’t they enter the uninhabited houses?”
“Not as far as I know. Three years ago there was a regulation that the Securitate had a set of keys for each uninhabited house in the vicinity. But now,
it seems, it no longer applies.”
“Fetch it here, please.”
“WSW, hasn’t anyone told you that all that nonsense with disguises can only
bring us bad luck? Someone will give you a shove and you’ll fall in front of a bus.”
From the ground floor, Sucu fetches a voluminous fishing rod sleeve,
made of waterproof khaki canvas, from behind the fridge where it had stood
propped against the wall.
“Isn’t fishing banned?”
“Yes, it is. But given that the undercover officers sometimes pretend to be
fishing, no one abides by the ban. But Ceausescu, if he sees an angler, asks
whether it’s the fishing season. ‘The comrade is going to prison,’ he said with
sadness, when he caught a lieutenant who was guarding him and pretending
to fish outside the legal season. What could his superiors do? They banged
the poor lieutenant up in ‘University’. True, they didn’t classify it as poaching,
and after a while he received a pardon and they promoted him.”
The bundle of rods inside the sleeve is tied up with three rubber bands.
There are five simple and two telescopic rods. And hidden in the middle, like
the axe in the bundle of fasces, there is a long-range Dubretskoy sniper’s rifle
with a heavy stock. White Swallow-Wort extracts the rifle, holding it with his
right hand by the slot for the telescopic sight. He props the rifle vertically
between his knees and fishes the sight from the sleeve, which is stashed in
a receptacle that resembles a slender thermos flask. Finally, he removes the
round metal ammunition case, stowed at the bottom of the sleeve, upon
which the rifle stock and the fishing rods had been resting.
“Don’t you want me to handle all that?”
“No.”
Inside the round case there are three rectangular boxes, each with twelve
bullets. Two are intact and sealed with a band of blue paper. The third, which
opens like a packet of cigarettes, contains not smokes but eight bullets, steely
grey and resembling the worn stumps of crayons.
37
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38
“They’re as I left them. I haven’t touched them except to fetch them.”
In February, White Swallow-Wort and Marcel Sucu had spent a week in the
Făgăraş Mountains, training to fire the Soviet weapon with precision. In the
mornings they set out from their cabanas, they journeyed for four hours on
foot away from any hiking trail, and practised shooting only during storms. In
this way, the cracks of the shots were inaudible, but the strong winds, blowing sideways across the line of fire deviated the projectiles. In the mountains,
the great problem had thus been that only one in three bullets hit its target.
“Do you want me to stay here with you?”
“No, on the contrary. When do you have to go back to Bucharest?”
“Whenever I like. But in the evening they start getting grumpy. And after
ten at night all traffic is forbidden in the area, unless by prior communication.”
“Well, then…”
“In any case, he won’t be coming this evening. If he comes, it’ll be at five
o’clock in the afternoon, six at the latest. So, you won’t need to get up at the
crack of dawn tomorrow. I’ll come round at ten to wake you up, and we’ll
drink a coffee.”
“No. I have a request. Don’t come round until we’ve finished.”
“Tell me straight out what it is you want.”
“Behave exactly as you would normally. If I need you or you need me, we’ll
agree upon a signal. You know the terrain. What would be the most suitable signal?”
“Hm. If you want to call me, draw the curtain in the bedroom facing the
storeroom. If I want to alert you to something out of the ordinary, I’ll hoist
the club flag on the pole and put a padlock on the cable, so that none of my
colleagues can take it down.”
“How many days can I stay here?”
“It’s entirely up to you.”
“And how long would that be?”
“Two weeks. The doctor has asked me to air the pipes and keep an eye on
the blokes who’ll be coming to change the radiators. They’ll have to call me
when they want to come, because I’ve got the keys.”
“Will he be annoyed if I nibble things from the fridge?”
“He won’t, but I will. How can you have come here without bringing your
own food? Are you trying to do to me what Ceausescu does? That’s our
food on the bottom shelf of the fridge. You have two salamis, a kilo of spam,
cheese, onion, fish and olives. Two jars of jam. Butter. You can use sugar and
oil from their rations, because they’re very obliging folk. In the freezer, you
have eight loaves of bread, also on the bottom shelf. In the fridge there’s also
a pan of stuffed cabbage leaves, from Smaranda.”
“Did you tell her what we’ll be doing?”
“Absolutely. I told her, ‘Woman, while one of us is shooting Ceausescu, the
other can throw stuffed cabbage leaves at him. And so mind what you cook
for the little’un !’ Look here, I’ve been cultivating women in my garden since
I was fifteen. And I’ve never had any nasty business because of some skirt. So
keep your hair on, as far as Smaranda’s concerned.”
“Did you or didn’t you tell Mrs Smaranda that I was coming to Snagov?”
“What do you think?”
“You tell me.”
“Look here, WSW, it’s you who ought to be taking a leaf out of my book
when it comes to handling women. That’s all I’m going to say.”
“Alright.”
“Satisfied?”
“Yes.”
“All the thieves that end up in prison have women to thank. The only thief
that doesn’t trust them is Mr Marcel. Why do you think I get myself a new
one every year?”
“I don’t know.”
“So I don’t get attached to them. Once you get attached, you lose their respect. A woman is a man’s joy, but she needs to be kept at your feet, like a
dog. You don’t tell a dog all about the films you’ve enjoyed. You give it orders.”
“I didn’t mean to make you angry.”
“I never get angry at you.”
“Thanks for the food. Tell Mrs Smaranda from me.”
“Don’t push your luck. If you stay for a week, what’ll you do all that time?”
“I’ll take a look outside. I’m curious as to how that lot guard him. How
does he arrive most often, by helicopter or by car?”
“Both. More often by car. If he comes by helicopter, it means he’s really bored
and then, more than certain, he’ll go yachting. In such cases, he goes alone.”
“How long does it take him to get from the helicopter or car to the Palace?
How long from the Palace to the jetty? What else do I need to know?”
“How do I know? He walks the same as anyone else. Perhaps a bit briskly
for his age… Thirty seconds from the helicopter to the palace. Five seconds
from the car to the palace, because it leaves him by the door… When he
comes out of the palace and heads towards the jetty, it takes him a minute,
because he has to cross the whole of that lawn. Not to mention when he goes
for a walk. Ah, that’s something I didn’t tell you. For a while he had a very
strange habit. Maybe he’ll take it up again.”
“What?”
“He and Elena dress up in hiking gear. Each has a rucksack laden with a
few kilos of sand, and they set out at a brisk pace around the grounds, so that
they will tire themselves and sleep better.”
“I can’t believe we could get that lucky.”
“We won’t. He gave it up. Elena probably nagged him too much. Since then
he doesn’t take her along. He takes the yacht out.”
“Anything else?”
“There’s just one thing we haven’t discussed. To shoot Ceausescu is the
easy part ; the hard part is not to be pulled down into the grave after him.
After we liquidate him, how are we going to make your getaway?”
“Have you got any ideas, Mr Marcel?”
“Yes, let me shoot. Can you listen to me for two minutes without
interrupting?”
“Of course”
“In the last three months I haven’t come up with anything better. In the
instant after the first shot, the whole area will be sealed off. Not even a bird
will be able to get out. They’ll leave no stone unturned. If I stay in the storeroom, I won’t have any bother. On the other hand, if they catch you, who
won’t know where to run, the guard will tear you apart with their bare teeth
for shooting him, they’ll dip their handkerchiefs in your blood and dance
around your corpse.”
“If they dance nicely I won’t mind… I sinned. Forgive me.”
“If you remain in Bucharest and I shoot, it’s our only chance. I’ll whack
him, hide the rifle and get away from the spot as fast as I can. I make my getaway through those tall reeds and from there I can look after myself. Only
I know where to swim under water and where to come up, at the other end
of the island, under the remains of the wooden bridge from the time of Vlad
the Impaler. In the confusion that follows, I expect all the guards will come
running here, and then spread out to comb the area.”
“How old are you Mr Marcel?”
“You know. Why are you asking? Fifty-two.”
“And you know how old I am. Twenty. And so I’m quite quick on my feet.
What, are you afraid that if they catch me I’ll betray you? You think that if they
get hold of me I’ll betray you. That’s why you want to do the shooting, at least
so that no one will be able to denounce you.”
“When tortured painstakingly by someone who’s good at it, no one can
resist crumpling.”
“Not even you?”
“Not even me. You can make anyone at all betray even his own father and
mother under interrogation, in rhyming couplets and dancing on the corner
of the desk like a ballerina.”
“Maybe. But I’ve never crumpled.”
“You’ve never had occasion. You were saved by two antiques, a crock tied
to a piece of string and a hunchback.”
“And now?”
“Alright, you shoot. But just you make sure you do two things for Mr Marcel. Hit the target. And if you end up signing statements, write my name without father’s initial, because dad wasn’t too happy when I took up thieving.”
“You should hurry.”
“There’s still plenty of time. So, do you have an escape plan?”
“I don’t have any plan. I have an idea. But I can’t tell you it.”
“I’m off. If I can help you with anything, draw the curtain.”
“You said there was a telephone in this villa.”
“In the ground-floor bedroom.”
“Is it working? Has it been disconnected?”
25 YEARS WITHOUT TH E IRON COU RTAIN
“Defects can occur anywhere at all. But as long as I’ve been here, the telephones have never been down.”
“Do you have a telephone at the storeroom?”
“Yes, I do.”
“Then I have a life or death request to make of you : stay at work, on every
working day, until six o’clock in the evening. Even this coming Saturday.”
“Well then, WSW, at last you’re talking like a lad with an undisturbed library.”
“Here comes the most important part : even in the moment you see the
motorboat that heralds Ceausescu’s arrival, or even sooner, if you pick up any
sign that he’ll definitely be coming, make a telephone call to the number I’ll
give you and ask to speak with comrade Bagel.”
“Is that all? What if he’s not there?”
“He will be. When you’re sure you’re talking to comrade Bagel, tell him
this, word for word : ‘Comrade Ionescu says the plate is full.’”
“Why not tell him the cup is full? Or that the gun’s gone off?”
“If you want to live to ripe old age, remember the words exactly as I told you.”
“‘Comrade Ionescu says the plate is full.’ Will he say anything?”
“Then you hang up.”
“The number?”
“59 55 55. I’ll write it down here, but tomorrow destroy this.”
“I learn from everyone. If you want to teach me a trade, I learn. If you order
me to destroy it, I destroy it. 59 55 55. It’s an institution. Look, here are the
binoculars. You don’t do crosswords, so I’ve saved you two ‘specialist reviews’.
This one’s paracentric, something completely new, the bee’s knees. This
one’s tubular. French and Korean. No one in Bucharest has anything like it.”
White Swallow-Wort takes the two “specialist reviews”, which are in fact
two sophisticated mechanisms, wrapped in thin card, and he lays them on
a pillow of the couch.
Preparing to bid him farewell, Marcel Sucu grasps his hand and does not
release it all the while he speaks.
“WSW, if instead of killing you, they make you President tomorrow, take
care what you cook.”
“I’ll consult with you.”
“Not a bad idea. You’ll be the head cook, and I’ll be a consultant. For those
impoverished compatriots of ours, we will cook steak and dessert instead
of bones and bagels… But first of all, you’ll have to give me back the lake.
You’ll tell them, ‘Takethis here lake and drag it over to Mr Marcel’s, but after
you’ve filled it with lady rowers eager to train !’ Goodbye ! Live like an American President, WSW !”
“Thanks. Let’s meet again in good health, Mr Marcel.”
“You can’t. Either you’ll end up more, or much less. From this business you
can’t come through merely healthy.”
The blood-red glints of light from the lake reflected on the front wall and
window of the villa have been extinguished. The two can now barely discern
each other’s faces.
White Swallow-Wort remained for another half an hour by the windowsill.
Marcel Sucu went downstairs and with his hands thrust in his woollen
trousers he jingled the keys and coins therein, whistling as he went. The
cold was beginning to bite, and Mr Marcel was wearing only his customary
grey sweater, with two black stripes across the chest, moulded to his athletic frame. He kept thrusting his chin outside the edge of the turtleneck, like
a skittish stallion.
Silence settled like sand strewn by a shovel over the two children of
darkness.
Marta Petreu
In Another Life
We could have talked. We could have mixed
our tears seed saliva sweat
We could have combined
book and flesh thought and guilt
Oho! how we might have dissolved ourselves
united as brothers
Yes. As brother and sister: incestuous twins
we could have tested
limit after limit
Shoulder to shoulder brothers ready to face fear at dawn
death that keeps growing and growing life yet to come
Yes. We could have macerated like the hide of wild game steeped in
mordant
softened and tamed
by one another
Tears and blood. Flesh and brain. Water and salt
Oho! we could each have liquefied the other
the way hemp disintegrates in the river
the way a body dissolves in pure caustic soda
Yes. I could have caressed you. I could even have
sung you a lullaby
I could have been your refuge. I could have killed you. Yes youbrother lover child. I could have strangled you
with my own hands. We could have led each other hand in hand
to death
(Death. Impervious refuge. Maternal uterus. Common final placenta)
We could have talked. In another life of ours:
the next
TRANSLATED FROM ROMANIAN BY ADAM J. SORKIN AND BY CHRISTINA ILLIAS-ZARIFOPOL
Read more:
http://wordswithoutborders.org/article/crematorium#ixzz2xIgwWSyY
TRANSLATED BY ALISTAIR IAN BLYTH
(Excerpt from Cel mai bun oman al tuturor
timpurilor / The best novel of all time)
STANO MASAR: NARCISSUS
CARTEA ROMÂNEASCĂ, 2008 © POLIROM
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DAV I D Z Á B R A N S K Ý
Any Beach But This
CHAPTER ONE
>1
Democracy on the loose! – Here I am in the café of the Musea Nacional del
Prado, thinking of Vienna.
Bartlett (the guy I flew to Madrid to see) warned me about Vienna. He said
that’s where Hitler learned to hate the Jews. ‘He was born in Austria, but to get his
show on the road he had to move to Munich. Vienna couldn’t stomach his paintings – those amateur daubs of his – or his Nazism. Vienna’s way is different: indepth destruction. Instead of attacking from the outside, it destroys from within.’
Why go to a town where waltzes sound like marches and marches sound
like waltzes? Why go to Vienna at all?
40
and simplicity that seems to relax every muscle under their skins. Unlike
Spanish women she has no vestige of the animal about her, of the beast that
seeks out the shade. Her cheekbones are not prominent, her lips are not
half-parted in a constant sucking-in of air, nor does her body remind you of a
sculpted wooden torso. Unlike Spanish women she does not look like an animal tormented by sun and thirst. Nothing about her suggests primal suffering or physical thirst or physical fatigue. Or, for that matter, physical passion.
Unlike Spanish women she seems fluid, washed-out – in fact she reminds
me of a watercolour, an artist’s attempt to express disillusionment with the
present, nostalgia, or at any rate some feeling that feeds on the past, not like
the feeling I get when I look at those boldly striding Spanish women, confident in their bodies and clothes and gestures.
She gets up and goes to look at a poster for an exhibition in the Prado.
Then, left foot turned out, hips relaxed, she starts fiddling with the end of the
scarf draped casually round her neck, first winding it onto her finger, then
unwinding it until the scarf hangs once more against her blouse.
She does this several times, until the scarf slips off her shoulder and drops
to the floor. Quickly, glancing around in furtive embarrassment, she stoops
to pick it up.
She’s out of place here – she’d be out of place even in Vienna. Here years
of democracy have eliminated embarrassment from public life without a
trace. Maybe it survives as an endangered species in private life, in intimate
situations. Maybe there is still a place for embarrassment and coyness in the
bedroom (possibly as the most effective form of titillation, since it’s the only
place you’ll find it). But on the street, in cafes and museums, in planes, trains
and offices, it has become extinct.
Just as history disappeared in the West after the Second World War (since
it only concerned those on the other side of the wall), then, crossing the finishing line with a casual wave at the last stroke of historical time (as the wall
came crashing down) seemed to stop altogether – so, too, embarrassment has
vanished and been replaced by absolute naturalness. Man is the measure of all
things. In the post-war era Western man blossomed at an unthinkable pace. No
democratic or humanist system in history has ever borne such luscious human
fruits, so unselfconscious, so self-possessed, so natural. It was the naturalness
of the Viennese, and of the tourists in Vienna, that transmuted the vast weight
of culture and history into – dadada! – a bland amusement for tourists.
>
The moment I landed at Schwechat I realized Bartlett had got it wrong. I was
surprised at how fresh the Viennese air was. If Vienna were Lagos or Dilli
there would be two Viennas – the tourist one and the real one – and being a
tourist I would naturally have seen only the former. But Vienna is not Lagos
or Dilli. What I saw was Vienna.
Italians strolled around in shorts, with bits of clothing round their waists
and cameras round their necks. Austrians stepped out of cars and walked
past palaces, past the unchanging backdrop of the democratic West that is
everywhere the same.
Of course you are surrounded by history (this is Vienna, after all!) – so
much history it can be quite daunting. All those pictures in the galleries, all
those plays in the Burgtheater, all that music in the concert halls – it can get
quite scary. But here in Vienna they lay that vast weight of history and culture
on you so gently you hardly feel a thing.
Waiting, credit card in hand, in the queue at the Albertina ticket desk (my
pockets full of fliers of every description, behind me a group of Italians in
shorts and sandals arguing about their flight home, all around me modern
art and architecture, the laid-back lightness of the West), I recalled Bartlett’s
words and had to laugh out loud – then apologize to the Italians. Neither in
Vienna, nor in Italy, could anyone learn to hate the Jews: Freud’s house is now
a museum, and so is Mussolini’s birthplace in Predappio.
(As we stroll through Vienna or Madrid or an Italian village, do we ever
pass houses and apartments that will one day be museums? Sure we do. But
won’t they be the houses and apartments of movie stars destined to play Mussolini or Freud in some yet-to-be-made film?) I ordered a fresh orange juice. >
(Madrid is awash with oranges – picked in Andalusia by Moroccans, Poles, Watching her – she’s still looking at the poster for a Tiepolo exhibition –
Rumanians, Ukrainians, etc. The Moroccans stay on after the harvest, but the I feel increasingly sure she’s not from Madrid, she’s not from the West, and
Poles, Rumanians, Ukrainians, etc. return home. So Madrid is more and more she definitely doesn’t belong in the West.
awash with oranges picked by Poles, Rumanians and Ukrainians, etc. and less
Where does she belong? In the Eastern reservation. On the other side of
and less with oranges picked by Moroccans. The Ukrainians pick oranges and the fence that still separates the West from the East (although historically
go. The Moroccans pick oranges and want to stay. But what Spain wants is speaking the East has collapsed and the West is helping itself to more and
picked oranges, not Ukrainians, Moroccans, etc. Spain doesn’t want any of more of it). She belongs on the other side of the fence, in that place where
them; it just wants the oranges they pick.
occasionally they bark, but otherwise just gaze in envy, at the West.
Da-da-da!
‘Hey, there’s Polina!’ says Bartlett, reaching over the table with one hand
Dum-da-da-daa!
to shake mine while waving to her with the other.
‘Sam’s a teacher. Where was he born? Bradford. And Polina’s from Ukraine.
>
She was born in Ukraine and most likely she’ll die in Sam’s arms in Madrid.
A couple of tables away I spot a young couple – honeymooners, lovers? I’m What a wonderful fate, eh Polina?’
not sure about him, but she is certainly not Spanish. Her hair is too fair, her
Again she’s embarrassed. She says ‘they’ don’t want to disturb us.
skin is too fair, her features too Slavic.
‘They met in Ukraine. She talked him into leaving Ukraine and taking her
Her manner lacks a certain type of femininity natural to women born with him. Goodbye and good riddance! Said she couldn’t lead a decent life in
under a scorching sun. Her body is incapable of that rapidity, that severity her native land, same as me in fact. Goodbye to all that. Grappa?’
25 YEARS WITHOUT TH E IRON COU RTAIN
>
‘She’s not very natural,’ I say, as he returns with two glasses. ‘I was watching her.
She kept twiddling her scarf round her finger. Then she dropped it and looked
awfully embarrassed. She’s out of place here. She doesn’t belong in the West.’
‘She doesn’t belong in the West because she’s not natural? Nonsense! She
doesn’t belong in the West because she’s not original. Her main aim in life is
to look the same as everyone else, but in her attempts to be the same she’s
never had to deal with the terrifying need to be different – which has now
become absolutely suffocating, even here.’
‘But fancy making such a fuss about a scarf! I wonder what she’d do if she
were naked? Imagine: her blouse falls apart at the seams, her skirt drops
round her ankles, she steps out of it; maybe she’s still holding her glass;
maybe it slips out of her hand and shatters on the floor, but she pretends
not to notice and carries on walking round the room. She’s just the same as
before, except now she’s naked. Then and only then will nobody doubt she
belongs here.’
‘Very original! Any crazy streaker who runs onto a football pitch gets his
picture in El Mundo the next day. Nudity is the preferred political weapon of
those who have no political power. –Imagine you want to cycle from Lavapies
to Sol. You don’t work in City Hall so you can’t issue an order banning traffic from the Lavapies-Sol road. What do you do? You find someone who also
wants to cycle from Lavapies to Sol, you strip off, and you cycle from Lavapies
to Sol. ‘Why strip off?’, people ask. You tell them you want to draw attention
to the deplorable lack of cycle paths and the deplorable behaviour of motorists. You talk gravely about a grave problem and pretend not to notice you’re
naked. You point a finger at the scandalous behaviour of drivers, and the next
morning you’ll be all over the papers and half of Madrid will be pointing at
you. Scandalised cyclists will argue with scandalised motorists and scandalised councillors – but you, unlike them, will be naked, because being naked
is the only way you can say something with any hope of being heard. Nudity
is the price you pay for not being a politician.’
‘But nudity stopped being original years ago! Most people are perfectly
happy to undress anywhere, anytime. Being naked doesn’t make you a star,
it just makes you ridiculous.’
‘To be original you’d need some physical defect. Maybe Polina’s got only
four toes on one foot?’
‘Somehow I doubt it. No, if she really wanted to be what you call original
she’d first have to do something about her clothes. She could start by going
round this café borrowing stuff from people. The room would fall silent;
there’d be expectant looks, catcalls, applause – depending on what she happened to pick. But none of that interests me. What I really want is for her to
take her clothes off. I’d like to see her natural charm – after all, when we say
‘personal charm’ don’t we simply mean naturalness? That’s how I’d like to see
her – naked, silent, natural.’
‘Naked and dead.’
‘So she couldn’t talk about her originality.’
‘As it is she wears so much lipstick she never dares shut her mouth.’
he realised he needed more East, so he left Poland and went to Ukraine. The
brochures they sent him about Charkov described Charkov as an ordinary
Ukrainian town. Which is precisely why he moved to Charkov.
Ukraine was more bearable than Poland. One of his students was Polina,
with her beautiful eyes and poor English. She was secretive, passionate, forever taking refuge behind the slowly crumbling barrier of language. For two
years she’d been going out with an ex-schoolmate, who listened every night
as she told him, in her mother tongue, about the foreigner who for some
weird reason had ended up in Charkov. But gradually the mother tongue was
replaced by motherly feelings. Ukrainian became the language they used to
misunderstand each other, and before long their life together was so dull it
had to come to an end.
She and Sam both longed for something different: she didn’t want to
speak Ukrainian with a boy she’d known since she was ten; he was looking
for something deeper – something he could only find in another culture and
another language.
They rented a flat together. He pampered her and spoke English to her for
hours on end. Sam took his stay in Ukraine seriously, because Ukraine was
different from England. He took Polina seriously, because she was different
from his mother. She listened to him and didn’t contradict. Laughing with
those wide-open eyes of hers, she timidly repeated the English words she’d
learnt – though her pronunciation was far from English. She had no inhibitions about crying, or about making love. He would stroke her neck and ask
her if she knew the English word for what he was doing.
She was a part of all that was new and unknown and unfathomed. In her
he saw the headscarf worn by every Ukrainian woman, the dollars sent home
by every Ukrainian abroad, the Ukrainian delight in little things, all the thrift
and impulsive generosity, all the poetry and half-empty shops, all the absurd
old cars on all the absurd Ukrainian streets. She had a big soul, and into it he
packed everything he saw around him. In falling in love with Polina he fell in
love with Ukraine – and vice-versa.
He was patient. He learnt Ukrainian and drank her relatives’ vodka. He
was faithful and thought about the future. He knew his place was not in
Ukraine, he knew he was and would remain a foreigner, he knew he’d always
have difficulty understanding and making himself understood. He talked
openly about everything he thought, but there was one thought he never
spoke out loud. If he had, it would have been: ‘We outsiders have to admire
these people. They have no idea how beautiful their lives are compared
with ours! – Or how quickly they’ll ruin them if they keep copying us!’ But
it remained unspoken. Besides, Ukraine had no wish to hear such thoughts.
Quite the reverse – Ukraine and Polina loved the West. And Sam loved Polina! So what else could he do but start learning to love the West too – or at
least stop hating it.
What else could he do but discard a thought that anyway remained unspoken and yield to Polina’s admiration for everything he had turned his back
on? Wasn’t Polina’s soul big enough to contain not just Ukraine but the whole
world? And wasn’t Sam the loving parent, incapable of taking away from his
beloved child the toy she cuddles at bedtime? Doesn’t there come a point
when the loving parent starts to see the once detested toy quite differently,
>
They met in Ukraine. Sam worked in a language school. In those days he through the eyes of the child? Is not the power of love so great it can sweep
wore rings in his ears and nose. Now, when he shows you a photo of himself aside common sense and replace it with all-embracing acceptance?!
For that is what their love was: all-embracing acceptance – all, that is, exfrom back then, Polina dismisses it with a wave of her hand and an indulgent
smile: ‘Oh, that was ages ago’. But behind the wave and the smile there’s cept Ukraine. At first their love-songs were addressed to different corners of
the world – Polina’s to the West, Sam’s to the East – but gradually their voica sense of revulsion, as if she felt like adding: ‘That’s not how it was!’
Revulsion, because those two loops of metal, which in those days rep- es merged in a single deafening unison. Together they criticised Ukraine: the
resented freedom (piercing for an Englishmen meant you were somebody, corruption, the squalor, the shabby people and politics. Polina spoke for both
while for a Ukrainian it meant you were nobody), she now found frightening, of them when she announced she wanted to get out. To Italy, or France. Anas if the beast that could be tied up by them –tethered so it couldn’t move – ywhere but Ukraine. Yes, Ukraine was beautiful, but who’d want to live there
if they didn’t have to?
was not him, but her.
There’s no future for us here! There’s no future for me here! – And you
can teach English anywhere.
>
He was twenty-seven. At twenty-five he’d realised he didn’t like living in England, and decided there and then to go to Eastern Europe. But after barely >
a year in a small Polish mining town full of vodka and ‘lurid tumours’ (as Did he go back to the West with her? Yes. Because he loved her? No. He went
he called the new forms of advertising and dress, the new television pro- back with her because he still had that vision of something he longed for.
He said he longed for something deeper, which he could only find in angrammes and shopping malls) he was convinced that Eastern Europe as such
did not exist – there were only varying degrees of East. After barely a year other culture and another language. But that wasn’t strictly true.
41
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Sp ring 2014
What he really longed for was the need to make an effort, to be forced Flamenco and Spanish folk songs took their place. She bought her first Spanto avoid simplifications. He longed for problems. Ukraine had been his chal- ish newspaper, El Mundo, which she painstakingly attempted to translate – at
lenge. Now his challenge would be the West. For her sake, he told her, he first word by word with a dictionary (a paragraph over her breakfast coffee,
would sacrifice himself.
a whole page after lunch); then without a dictionary, trying to work out the
He told her he would sacrifice himself (meaning that all of a sudden he new words from their context and writing them down on a piece of paper,
would have no more problems), but in fact it was no sacrifice. He didn’t care and only later looking them up and copying them into a little notebook, with
what sort of burden he shouldered; he only cared how heavy it was. He didn’t which she then sat on the hotel balcony, committing them to memory.
care if it was a kilo of feathers or a kilo of iron.
They looked for a flat in the city centre – Polina had fallen in love with
If he was to leave, he would leave with Polina, and he could be quite Madrid and wanted to live in it. Every time they turned up at precisely the
sure that in the West he would have plenty of problems, since Polina was a appointed hour, and every time the queue of applicants stretched halfway
Ukrainian and Sam was her lover. A relationship with a Ukrainian changed down the stairs. They started turning up an hour early, but the flats (all of
everything: going back to the West with a Ukrainian girlfriend did not mean which they liked) always went to someone else.
going back to an old world of terrifying simplicity, but arriving in a new
On Sundays they went to the Prado. Polina studied all the leaflets careworld of exciting complexity. Suddenly the feathers on the western side of fully before sliding them unfolded into her bag, over which she then placed
the scales were heavier.
a protective hand.
He sent letters to London inquiring about other places. ‘No, Ukraine is
At first they were just worthless handouts. Later, at her request, they
wonderful’ (he wrote in reply to the questions that came back) ‘– We just began buying ever more expensive booklets and catalogues. Her idea was
need a change. I met a girl here.’ (he explained) ‘Her whole family live here, to cover the walls with posters of famous exhibitions, reproductions of wellbut they all agree she should get out.’ He took the rings off his face and be- known paintings – but she said she wouldn’t put them up until they had their
fore long he told her they were going to Madrid.
own flat. Meanwhile she stored them under the bed in the hotel.
The only thing she put up on the hotel wall was a photo of them both in
>
Ukraine, arm in arm in front of an Orthodox church – not only to remind
For the first week they lived in the school, then they stayed in a hotel for a her of Ukraine, but most of all to remind her that the hotel they were living
few months. Polina spent her days strolling down the wide streets looking at in was not yet Madrid, just a more bearable Ukraine. Her purpose was less
shop windows; Sam went to the language school to teach Spanish children, nostalgic than cautionary.
and in the evenings explored the city on his bike.
(extract from the novel)
He got by with English, but Polina spent hours on end studying SpanTRANSLATED BY ROBERT RUSSELL
ish. At first she shed secret tears over her Ukrainian songs, but after a while
J Á N O S H ÁY
The body of freedom
42
Every self-respecting person goes there, at least nobody sees them, or else hidden by our coats, arriving from Hungary. They were right where
after high-school graduation. You get yourself a showing them only to our friends as we fold down we were. We couldn’t have avoided them, bepair of jeans, a tee shirt, and sandals with leather the lapels, like secret police agents, so our friends cause if we happened to get past one, we would
straps holding the sole to your foot, the kind you can see which side we’re really on.
have bumped into another. They told us the price,
would have worn at Woodstock. You travel only as
We smuggled money across the border, since which we knew to be good, in fact a little better
far as Krakow by train, from there you hitch-hike, we would get three times as many zlotys on the than we’d expected. After all, we could only come
because there’s so much freedom. Your hair is free market as we would officially in the bank. out well in Poland, a tourist destination where the
long, because you don’t want to set limits even on We’ll get off the train, explained those who’d al- point is not how travelers can be fleeced, and anyyour hair growth. That was how we planned our ready made the trip, and we won’t even have to way, Polak, Węgier… everyone knows that if the
trip after graduation, in 1979.
seek out the money changers, they themselves Hungarian nation has a friend in the world, it’s the
Poland was freedom itself. Poland was the pro- will rush us, ready to do business. No bureaucracy, Polish nation.
test against the world in which we lived, the world just a friendly transaction. They need the money
Forints into zlotys. I double check. Hey, this
we experienced as subjugation, as humiliating because, though their theater is more open, their is short, I say to the Polish guy, because it really
defenselessness, full of Russian soldiers, of sup- shops are empty.
was short. The money changers knew these few
pressed truths, of people afraid to open their
The way things worked under communism, Hungarian terms: short, too much, how much;
mouths. But the Poles were different, they had un- each country had its own freedom, and in Hunga- that was the extent of their Hungarian. He counts
fettered jazz, open theater, and the workers at the ry it was the freedom to eat.
it again. Prose barco, he says, you’re right, my
shipyards could organize themselves without a
The border guards pounced on our things, mistake, and adds what’s missing. Well, that’s
hitch, because the ships they manufactured were searched everything, but didn’t find it. They done, I thought when I found a quiet spot where
so enormous that they required workers nobody didn’t take apart the sandwiches, where in one I could put away my newly acquired fortune. If
would dare confront or pick a fight with – or even of the rolls instead of Gyulai sausage, or rather only the joy of having made such a favorable excompare mustaches with, said somebody was fa- in addition to that, they would have found our change could have lasted a bit longer. Moreover
miliar with about Lech Walesa’s big handle-bars.
small amount of money, which we’d exchanged who, with as little experience in financial dealWe’ll go there and get hold of uncensored re- in Krakow upon arrival. That’s really how it was: ings as I had, would think of himself as being
cord albums and Solidarność badges which we’ll the moment we stepped off the train, the money particularly adept in such matters? That’s when
then wear here at home, of course only when changers were circling us and the other tourists it happened, I thought while holding the wad of
25 YEARS WITHOUT TH E IRON COU RTAIN
banknotes in my hand, when he counted it again,
when he added the missing amount amidst apologies. We didn’t pay attention to the correction that
followed the initial transaction. Of course, that’s
when he skillfully switched the banknotes for
pieces of newspaper cut to the exact size. (Polak,
Węgier, dwa bratanki).
We had no money aside from the few tens covering the newspaper banknotes. All of us traveling
companions pooled our money. We now couldn’t
decide in favor of the train. We had been free to
hitch-hike, now we were constrained to hitchhike. No problem, we’re in Poland, we’ll live on
milk and bread for a month, but that didn’t matter, we’d been starving for freedom, not fried meat.
So we sleep in the stations: free lodgings. The police remove us. They don’t mistreat us, just tell us
that they’d already told us yesterday that sleeping in stations is forbidden, and they ask in Russian whether I understand. I understood, but the
next day the whole thing started all over again.
Gdansk, Gdynia, Szczecin, enormous ships, sea,
sand, deck-chairs on the shore, the beating sun,
strong winds. I saw the sea for the first time in my
life. It was here that my field of vision was able to
encompass, without concern, lands beyond national borders.
Then back again by way of hitch-hiking. How
else? A brief stop at the Masurian Lakes, by now
only with my girlfriend, the others left by train,
having had enough of freedom, which in fact was
too much for a youth from Buda, who was no jerk,
he could imagine what going back in poor-quality vehicles would be like. These last few days
are really for rest and relaxation, I said. Finally
we won’t have to be self-conscious about every
little intimacy, given that the others couldn’t do
the same, they hadn’t come with their girl- or
boyfriends because they happened to be single.
Moreover camping is free, we’ll sit on the lake
shore like real vacationers, I’ll unpack the book
I brought along for these peaceful days, the first
volume of Lukacs’s The Specificity of the Aesthetic. I thought it would go well with this kind of
tour of Poland. We sat, exhausted from our nights
spent in train stations. The book lay before me,
open, but I only stared at the pages vacantly, art
didn’t become animated in me, I couldn’t become
the warrior facing religion, an armored modern
St. George putting to the sword the false notions
in people’s hearts, so that he himself can finally
move into the emptied space.
Every three days pass by, and at the time
I didn’t connect this fact to the passing of my life
in general, because I didn’t think of it as passing
by, only as filling up. We’ve got to get going, we
stand at the side of the main roadway, rickety cars
are spewing exhaust next to us in the sweltering
heat, for a full day we stand and no one picks us
up. They must see me as German, I thought, because I’m so blond. Nightfall arrives, we go back to
the camping grounds. Next day I make a Hungarian flag out of tee shirts and put it on my backpack.
We’re Hungarians, Polak, Węgier, dwa bratanki, I say to myself, but only one driver stops for
us, a crazy man who would have done so anyway.
There’s no passenger’s seat in the battered truck,
just a large tool chest on which we bump and
shake. He tells us he’s been driving for two days
straight and hasn’t slept. The whole way I was
watching his face, coughing and making other
noises whenever I saw his eyes begin to close.
We had return tickets from Warsaw. Dead tired,
we boarded the international express. There were
young Poles in the compartment, drinking strong
homemade vodka. They gave us some. When one
of them thought I’d had enough, he began groping
my girlfriend. “What’dya think you’re doin’, scumbag,” I yelled and shoved him away (Polak, Węgier).
The train slowed down, everyone became quiet,
these were the border’s moments of fear, replete
with police, border guards, dogs. No one dared
move, everyone had committed some transgression. This was the kind of world in which even
someone who didn’t know he had transgressed
was a transgressor, because there were authorities
who called attention to the transgression. They
were more thorough than the Catholic Church,
which still made threats only on the basis of the
ten commandments. The authorities had thousands of commandments, and if you complied with
a thousand, they would find a number one-thousand-and-one, on the basis of which you could be
considered a transgressor. The doors were flung
sideways on their rolling mechanisms, passport,
door slams shut, door flung open, passport, door
slams shut, closer and closer. Then it’s our turn.
We’re asked for our passports, I’m going to get into
a fight with this Pole, I was thinking, when we’ve
crossed the border I’ll smash in his face. The border guards stand a while, then say something in
Polish, the compartment-mates grab their things.
They’re ordered off. The train starts out, I look
out the window, the uniformed men are herding a
group of fifty. They didn’t succeed in getting across
the border today, nor did the goods they were
trying to smuggle across in hopes of some gain.
I don’t have to get into a fight, but the Pole is atoning even so, I thought, then felt ashamed.
I was like someone who’d been to Poland and
obtained a little bundle on which freedom was
inscribed. From then on I lived in the world like
someone who’d gotten past initiation and become
free. Though the true experience of Poland was
only like the body of Christ during the elevation
of the Host. Behold the body of freedom, Amen.
A symbol whose reality was reinforced only by the
imagination. But at the time this figment of imagination was reality, it was in this figment that we
lived our lives, otherwise life would have been
too much of a calamity. And when the lives of the
Poles were constrained through various forcible
measures, I felt as though something was being
taken from me too. When they wound up in prison, when they hid printing presses and moved
them from apartment to apartment, when they
gave one another secret signals so as to recognize their own, then freedom was hiding out in
my heart as well. And it hid out there for years
to come, the way Hungarians had sought refuge
from the Turks among the grassy clumps of the
marshlands.
Nobody believed that the terrain of the imagination would all of a sudden slip into reality,
that the former reality-fabricators would clear out,
and in seemingly no time at all would toss freedom to us, to the Poles too, as if it were no more
than some standard commodity. And in fact freedom became commodity. The shops filled up, the
one-time empty shelves are caving, new shelves
are built, because the old ones can’t hold the
amount that suddenly appeared. If you can buy
it, you’re free. Warsaw is no longer Warsaw, the
Palace of Culture no longer dominates the landscape. Modern office buildings, the headquarters
of large international corporations, are growing
amidst the apartment blocks. My character Gézaboy knocked on the door of the Polish theater, at
first the door was opened warily, just a crack, then
wider, finally this autistic boy found a home, the
Poles became his pals. His name is a bit different
and his clothes are a bit different, but undeniably
he has remained Géza.
We’re on our way to Lodz by mini-bus, to visit
the famous academy where the innovators of the
Polish film (Wajda, Polanski, and who knows how
many more) studied, those whose films it was a
crime to miss, whose names were bandied about
at intellectual gatherings. Whoever couldn’t add
to the comments on a broached name was discredited in the others’ eyes. There is to be a graduation-exam performance of Géza-boy, then a
discussion, I don’t know what the topic is, poor
English meets poor English, the double linguistic
handicap magnifies the need for meta-communicative means. We understand one another exactly. Toward the end of the evening a teacher from
there hands me a brick. What’s this? I ask. He tells
me he took it from the ruins of Israel Poznanski’s
palace. It has a monogram on it: I. P. This palace was in Wajda’s film titled The Promised Land,
which is about the cruelties of the birth of capitalism, which we’ve long forgotten about, because
since then capitalism has become so devious that
we don’t even notice its presence, even though it
governs every second of our lives. He says he’s
giving me the brick because I wrote this play. At
the airport they don’t understand why I’m taking
a brick to Hungary.
I’m wandering about Warsaw, somewhere in
the distance is the Vistula, I see the bridge, on the
other side of which is Prague, of course not really,
only the Prague of Warsaw. Most people who find
themselves here don’t think people live there too,
in the downtown’s old buildings, which of course
are not old, since after the war nothing remained,
or let’s say no stone remained on another. In a
shop there’s a book showing their condition after
the war side by side with pictures of the same
scenes before the war and today. Though the
book is in Polish, the pictures and dates tell the
story. August 1, 1944, the Warsaw Uprising breaks
out. The Russians reach the Vistula. They strike
camp about thirty kilometers away, and watch
passively for 63 days as the Germans put down
the uprising, slaughter the people, then systematically blow up the city and carry off the surviving
population. Of course it didn’t occur to the Allies
that they ought to help either. After that, what
are we to make of peace, of the armies sworn to
destroying evil, whose leaders beat their breasts
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about exporting human rights and democracy to
the countries with a deficit in democracy. What
sort of political interests lie behind the deception?
The retaliation goes on after the war as well. The
heroes become the guilty, the despised subjects
of the official powers. Then of course the demolished buildings are rebuilt, two small towns falling victim to the project, because old bricks were
needed for the new construction. Give peace a
chance, I hum to myself stepping out of the bookshop, because its impossible not to get over-sensitive in a situation like this. Later, while walking on
Nowy Swiat (New World) Street, I wonder whether
such traumas bring about the cohesion of belonging together, and if so, whether it is built upon mutual suffering and heroism or hatred of the enemy.
We’re walking in the street, a Polish director beside me, from behind my friend is calling,
she’s a Hungarian director walking with another playwright. “The Slavs are in front,” she says,
“the Jews at the back.” We laugh. “What did she
say?” the Pole asks, “nothing,” I say, “it’s of no interest.” Then again from behind: “You’ve gotten
ahead of us again.” “What did she say?” the Pole
asks, “of no interest,” I say. I yell back at her, “and
you people are again making trouble in the background”. We laugh, because we’re fond of each
other. “What did you say?” asks the Pole who,
with a bunch of German ancestors, was about as
much of a Slav as I was. “Of no interest,” I say, we
are in the age group who don’t know English well.
We were taught Russian. Aside from the Russians
there were hardly any foreigners in the country. It seemed pointless to waste time studying a
Western language. Of course, we haven’t learned
English well since then either. He had directed in
England, he knew as much as he’d picked up, in
addition to whatever he got from a few semesters
in language school, “but there just isn’t enough
time,” he says. “There isn’t,” I concur, “for me either,” though there probably would be, but what’s
missing is the stick-to-itiveness.
My children don’t like Warsaw, they don’t feel
what I do. Lots of modern buildings, and the
old ones, well, they’re nothing more than fullscale models. Of no interest to them is Chopin’s
non-beating heart, immured in one of the columns of the Holy Cross church, moreover preserved in brandy. “How different the Poles are,”
I say to them, “consider that we brought only
Rákóczi’s body home, but left his heart in Paris,”
and when I start elucidating the significance of
this symbolic gesture, they turn away. I don’t
bother even mentioning the hearts of Reymont
and Prus. “Who’s that Reymont?” they’d ask, and
I certainly wouldn’t have succeeded with them by
bringing up the colossal novel, The Peasants, so
I say nothing, about the Nobel Prize either.
“Warsaw is everything,” says my friend who
translates my plays, “only the Poles know what Warsaw means. They have a Warsaw and a pope, and
that bestows some kind of fundamental unity upon
them which the Hungarians were never able to experience. The Hungarians have objects, at home
and in their museums and sacred places, but there
are no collective feelings that would raise them
above all the daily spitefulness and preoccupation
with possessions. The Poles aren’t so driven by
ownership,” he tells me, “everyday joys mean more
to them than expensive items, good shoes, entertaining guests. The Poles have so often lost
everything, and had to flee so often, that to them
the things Hungarians regard as important are insignificant.” In fact, even his parents fled from Vilnius. “And there’s no guarantee that tomorrow or
the day after we won’t have to move on. Poland
was non-existent for as much time as it existed,” he
points out. “It was divided among so many so often
that the past can hardly be found any more.” I don’t
know whether the Poles are as my friend claims
they are, or as another says, someone who is half
Polish and half Hungarian, who says the reason he
moved to Poland after his childhood in Hungary
was that the Poles tell you what they think, and
don’t beat around the bush the way the Hungarians do. Or is it really true that Polish women are
characterized by what a Hungarian friend of mine
told me, that such warmth emanates from them,
they can’t but thaw the frozen souls of men. I don’t
know whether the Poles are beautiful, smart, or
perchance lazy, according to the old stereotype.
I don’t know whether a typical Pole even exists.
I don’t know at what point we can say that something is what it is in general. Whether six out of ten
do the trick, or are three enough? Isn’t the point
that, when we talk about a typical Hungarian or a
typical Pole, we happen to be talking about how
we want or don’t want ourselves and others to be
seen? Of course there is no typical Pole or typical
Hungarian. In either case there is this kind and that
kind. At the same time thought, thinking, comes to
grief in particularities. Only by typifying and creating categories can thinking make sense of reality,
which of course raises the question of how much
of the real that reality really consists of.
We’re going to the Palace of Culture. A performance of Géza-boy is to take place in this Stalin-baroque building which, it so happens, was a
gift to Warsaw’s inhabitants from Stalin, perhaps
so they should never forget the Soviet army, their
hands in their pockets, watching the destruction
of Warsaw from the far side of the Vistula. To the
Poles, theater is the prima donna of the arts, if
a writer really wants to be somebody, he writes
drama. Drama crowns the writer. I wore a small
crown, and the Poles treated me accordingly. It is
a contemporary piece, so of course it is performed
on the main stage. Shakespeare or Moliere will be
consigned to smaller venues sooner than a contemporary play will be. The audience is interested in the new, not how Hamlet can be staged for
the thousandth time. Afterwards there’s a party, of
course the author is present. Drink up, drink up,
they encourage me and refill my glass as soon as
it’s empty. I recall the train compartment from long
ago, those hellishly strong vodkas. Drink up, and
I drink. I drink with this person, with that person,
eventually with everyone. Finally my friend says
we’ve got to go or there’ll be trouble. The trouble
hit us on the street, because this vodka is so strong,
its effect comes suddenly, like being whacked in
the head with a crowbar, which happened alongside the taxi. The driver didn’t want to take us,
then came the director, who is also the head of
the theater, but before the final reckoning he’s
whacked by the crowbar too. Another cab comes,
this one takes us. “We’re terrible,” says my friend, a
proper wife and mother from Posnań, but next day
we can’t remember what she said.
Between the Tatras and the sea, the topography seems to have vanished from the Polish landscape. We’re cutting across the country: bad roads,
slow progress, at least we don’t get pulled over
for speeding. We spend the night in Częstochowa.
This is the first instance in my life when I feel that
we’re similar to the citizens of Europe’s brighter
half. I don’t have to worry about my car breaking
down, as I did for many years with Eastern-Bloc
products or the shabby Western goods cast our
way; the hotel is not cheap, but reasonable. In the
evening we stroll in the city, surrounded by other
tourists, we drink beer. On the way back to our
hotel we come across a few out-of-control German
youths. They’re shouting. No telling why they even
stopped at a pilgrimage site, they must have mixed
it up with some other city, or else they had to drink
so badly, they couldn’t manage to stay on the train
all the way to Krakow. And who do we think we are,
I say to myself, resenting these Germans? After all,
don’t others also shout with abandon when, abroad,
they relinquish the constraints that regulate their
lives? We’re like a bad teacher who picks on one kid,
and that kid can eventually do anything. We consider ourselves circumspect and accepting, whereas
we constantly organize the world according to categories, and react to impulses that reinforce those
categories in us over and over again. In what way
are we different from those who follow a rigid set
of rules, for example the one-time Germans, the
grandfathers of these young people? Is it that in
certain areas of life we allow ourselves to indulge
in rowdiness, or is it that we’re just not consistent
enough to definitively stick to a rule of conduct?
Then, by the time we get back to the hotel, I’m at
the point where the hotbed of every dark thought
represents an attitude that is unable to accept a
world governed by chaos and entropy, but instead
ranks and systematizes everything whatsoever. In
one of the symbolic sites of the Catholic faith, this
is what’s on my mind as I fall asleep, having lost
faith in any kind of justice.
Next day, the monastery. Deeply devout
people, healthy, sick, injured in body and spirit.
Some come to give thanks for having been healed,
others to coax healing from the miraculous Black
Madonna. They long for healing, and if they long
for it, this over-embellished black face will not rebuff them. Get well, she says, go ahead and get
well! The centuries-old emotional tension hauled
inside the walls takes hold even of the apostate
visitor. For a moment I’m expecting a miracle, and
I leap from the Jasna Góra, the Luminous Mount,
into the true light. Then I fall back again when
I step outside and observe the commerce built
on spiritual entrancement, the accumulation of
cheap devotional artifacts and miraculous kitsch
for sale. Of course even I buy a small picture, just
in case, after all I don’t want my happiness to depend on a couple of zlotys.
It was then, on that trip, that I first felt that
a Swedish, a Dutch, or a German writer would
25 YEARS WITHOUT TH E IRON COU RTAIN
STANO MASAR: ABOUT STAIRS
behave similarly, but soon it became clear that don’t understand, they see only the possibility they’ll sing Polish and English songs with abandon.
I’m not a German writer, that a crisis was coming of lunch. They clearly show that the drive to live And they’ll consume milk and bread. Milk and
which would knock the bottom entirely out from overrides all emotional inclination.
bread, I asked, and they answered yes. Ah-hah,
under my homeland and that of the Poles, while the
The next day we go to where I never wanted to I said, but I suspected that by milk they meant the
German, Swedish, and Dutch homelands would at go, but I gathered my strength. For the sake of the smart-phone, and by bread they meant the friends
worst be knocked only to the floorboards.
kids I had to. Arbeit macht frei was written on the rounded up at the Erasmus, but I didn’t want to
Nowadays is it Warsaw or Krakow? That’s sign. Barracks, piles of shoes, eyeglasses, suitcas- disturb the conversation. So they’ll live on milk
what’s asked by those not entirely in-the-know, es, crematorium. We’ve seen it a thousand times and bread, and it won’t occur to them to waste
those who haven’t heard that for a long time it’s in photographs, if we come across it in a book, their money in restaurants. They won’t go out to
been Warsaw. But even so, Krakow’s mystique has maybe we turn the page. The erstwhile factory of the erstwhile Jewish quarter where, after all, it is
remained, especially for tourists, which we were at suffering has become a museum, but there is no absurd that Germanic retirees are merrily snackthat point, now that the official program was over. one with a heart so hard as to remain untouched ing above the memory of shattered lives. But,
Finally an old town, my children said. Yes, this by the pain, suffering, and vast loss of life, which I say with a concerned parental countenance, no
truly is something, I said as a father should, prais- here seems to have soaked into the ground and hitch-hiking, I wouldn’t want that. Of course not,
ing to high heaven the place he brought his kids sticks to the shoes of all who walk there, so that Dad, that’s gone out of fashion. A couple of us will
to. Cloth Hall, castle, dragon, what else would you they should never be able to get out from under get together, a friend will get hold of his old man’s
need? Plus, I added, this is a Mediterranean city, the prevailing responsibility. The Hungarian bar- car, I mean one of his cars. He’ll let you guys take
like Rome. Rome it’s not, they said, and anyway racks were put together better than the rest, I say it? I ask, because I couldn’t imagine myself doing
they don’t believe this Mediterranean thing, and when we’re back in the car, then later to the one so, true, I had only one car, and it was in pretty
I shouldn’t go insisting that I read it somewhere, who designed it (László Rajk), and I myself am bad shape since that bygone Polish excursion. Of
because they already know that when they don’t taken aback by the stupid observation.
course, this is how things are nowadays, they said
believe something, I say I’ve read it somewhere.
We’re sitting in the car on our way home, we while I stared, perplexed and surprised, at how
We’re hungry. We’ve already walked all around, don’t say much. I have the feeling this trip didn’t much the world has changed. So is that why there
looking at the historic structures as befits tourists, turn out as I’d planned. Fathers have a tendency aren’t any young people with backpacks on the
following a guidebook, reading enough dates in to set up a time-money-experience balance. And side of the road all over Europe? That’s why, they
one hour to complete an entire history course at they’re dissatisfied if they put the appropriate said, the backpacks are in the car trunk. Ah-hah,
the Eötvös Loránd University. The book of course amount in one of the scales, but too little ends up I continue looking at them bewildered, the way an
takes this feeling of exhaustion into account. It in the other. Then a few years later the topic came elderly man would stare at some new technologitells the tired-out tourists where they can slack up. The kids were surprised, they’d had enough cal device, his stare containing the memory of the
off a bit. In the old Jewish quarter we wander from of their parents, but they like Poland. They’re old device, which he was still able to use, and the
synagogue to synagogue, this much we can still just now planning to go there of their own free dread of the new, the dread of all those buttons,
do before lunch, says the parent while the child will, so that they won’t have to comply with the of the uncertainty about whether it’s worth wastremains silent. We’re surrounded by the small old parents’ daily plans. They’ll be able to roam free- ing time figuring out how the thing works.
shops that have been converted to restaurants ly about in this big country. They’ll settle on the
TRANSLATED BY EUGENE BROGYÁNYI
everywhere. There’s something absurd in this, ground in the main squares of extraordinary ciI say, all this revelry, all these tourists, where at ties, joining the other free young people who alone time so many lives were shattered. The kids ready settled down along side a guitar player, and
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ROSA LIKSOM
Back in the USSR
LIKSOM, Rosa
Dark Paradise
Dalkey Archive
Press, 2007
Crazeland
Heyne, 2001
46
Moscow hunched itself in the dry, frosty March night, protecting itself from
the touch of the icy red sun as it set. The girl entered the train’s last sleeping
carriage, found her compartment, compartment number six, and breathed
deeply. There were four beds in the compartment, the upper ones folded
agains the wall, while between the beds was a small table, on the table a
white table cloth and a plastic flower vase containing a bunch of pink paper
carnations, faded by time; the shelf above the end of the bed was full of large,
untidily secured parcels. The girl shoved her modest old suitcase, the one
she had got from Zahar, into the metal luggage space under the hard, narrow bed; her small backpack she threw on the bed. When the station bell
sounded for the first time, the girl went to stand by the corridor window. She
breathed in the scent of the train, iron, coal-dust, the smells left behind by
dozens of cities and thousands of people. Travellers and those who had come
to see them off pushed past her, shoving her with their cases and parcels.
The girl touched the cold window with her hand and looked at the platform.
This train would take her through villages inhabited by deportees, through
the open and closed towns of Siberia to the capital of Mongolia, Ulan Bator.
The man was sitting on his bed. On top of his white business shirt he wore
a checked shirt that hung open. Under the folds of the white shirt there glimmered a sweaty, muscular belly. The man took a small orange from the table
and began to peel it roughly. Once he had eaten the fruit he pulled out a
much-fingered newspaper and said from behind it in an irritable tone: ‘Young
people are restless. No patience at all. All that dashing hither and thither.
Everything goes at its own pace, time is only time.’
The man furrowed his brow and sighed.
‘Look here. All you see is an old geezer whose melancholy soul is filled
with a dull peace. Even his heart doesn’t beat with emotion, but through
sheer force of habit. No more crazy tricks, not even suffering. Nothing but
boredom.’
The girl remembered her last night in Moscow: how she had rushed from one
place to another, run down the long staircase to the metro and taken the Red line
to the Lenin Library, run along its tiled floors through the museum-like hall and
the labyrinths lined with bronze statues and climbed, via many steep escalators,
up the Blue Line, taken the train past the Arbat, got off at a church-like station decorated with mosaics whose name she no longer remembered, and how she had,
under the concrete arch, realised that she had forgotten her shoulder bag containing her train tickets and vouchers, and turned back, jumped from one metro
train to another, gone through the stations where she had changed lines and, to
her great amazement, found her bag at the Lenin Library stop; it was waiting for
her in the middle of the window of the metro attendant’s kiosk.
The train braked and stopped. Soon the engine began to jerk forward
and the train set off again. And braked. And stopped. The engine pondered
for a second, whistled cheerfully and moved decisively. The wheels jingled
apologetically for a second but soon the train, determined, was speeding onward. The sun bounced back off the other shore of the snowfield, lighting up
the earth and sky for a second and then disappearing beyond a limitless bog
landscape. The man examined the girl with a sharp gaze.
‘Your soul is filled with nothing but dreams? Well, there’s no law against
dreaming. Even Mad Ivan lies on the bench by the stove and dreams of a
moving oven and of a table that lays itself, but this life, which people wiser
than me call a transitory prison, is here and now. Tomorrow death may come
and grab you by the balls.’
The man’s narrow face shone with self-satisfaction. He had a fine mouth,
narrow lips and a small scar on his chin like Trotsky’s.
‘Death can’t be any worse than life.’
The man closed his eyes and pressed his lips tightly together. Then he
began to hum.
‘Don’t be afraid of death, my girl, while you’re alive, for then it does not
yet exist. And when you are dead, it no longer exists.’
The girl was woken by the morning light. The man offered her a glass of
tea and, putting a large lump of sugar in his mouth, stirred it with a paper-thin
spoon, blowing for a long time before slurping the drink. The girl looked out at
the landscape on the other side of the window for a moment. The sky was too
blue, the snow too bright. In the shadow of a lonely rowan tree stood a small,
blue cabin. In its garden stood an old man holding an iron handspike.
‘I belong to the socialist camp, people like you no. People like me have
attended all the camps: Pioneer camps, military camps, holiday camps and
forced labour camps. My first forced spade was put in my hand when I was
just a boy, when I took possession of a couple of cement mixers and carried
them off from the factory. I knew I’d be put in chains, but all the same… The
worst part was before they caught me, waiting for it. It’s like spinning in the
devil’s cogwheel. When the worst has happened you just think that this is
part of life. If only you didn’t die of hunger or dropsy. The main thing I remember about it all is the vile smell of rotting fish.’
The frost-dimmed glimmer coloured the icy covering of a snake-like little
stream gold. Around the thickets that grew on its banks rose a thick, smokelike fog. The frosty willow stands stretched slenderly toward the brightly shimmering violet sky. A white-flanked deer ran out of the fog. Its little tail shook.
‘My son is a complete renegade by nature. His heroes should have been
Cosmonaut Alexei Leonov and General Karbishev, who the Nazis liquidated.
But no. He dreamed of the followers of Yazov and is planning to move to West
Germany soon as he can save, from his pay as a jobber’s errand-boy, enough
dollars to buy a foreign passport.’
The man seemed to collapse. A deep silence descended on the compartment.
‘I wouldn’t move to the other side even if they paid me a thousand dollars.
It would be the same as moving a caged bird from one cage to another. I love
this country. America is a dungheap that God’s turned his back on.’
The sun swung up to the level of the merry, forested landscape. The compartment’s melancholy evaporated.
‘At home in Moscow I read the newspaper aloud to Katinka and in Ulan
Bator to my workmates. Is it OK if I read? It would be a comfort to me. Even
just a little bit.’
The girl nodded.
‘Pile-up on the Moscow ring-road – five dead and twenty maimed, a
coalmine exploded in the Ukraine – three hundred dead, an oil-pipe failed
in Chelyabinsk – one thousand five hundred reindeer drowned in oil, and
then a submarine sank in the Arctic Sea – seventy-one soldiers dead, a boiler
popped in an old people’s home – one hundred and twenty seven dead, a radiator split in a children’s nursery – forty four children boiled alive, a passenger ship sank in the Black Sea – two hundred and six passengers drowned, a
chemicals factory made its workforce redundant – an entire town was wiped
off the map, a power station failed in Karelia – thirteen villages sank beneath
the waves and seven hundred people were drowned, if an atomic power station tumbles down, a million people will die of radiation sickness.’
The man stopped reading and waited.
He straightened his back, turned the page and breathed in.
‘Soviet pilots lost five cruise missiles on a test flight in Sahalin. It really
does say that here.’
The train crawled forward as if apologetically. Against the milk-white sky,
the glowing full sun brightened the clean slow. This continued for a couple
IN DIVIDUAL AN D COLLECTIV E C HOIC ES IN SIDE AN D OUTSIDE OF TH E E N L ARG E D EU ROPE
of hours; then the vainglorious sun was covered for a moment by black darkness. Siberia disappeared totally beyond the window, but slipped back into
view again before anyone noticed. The wooden wall of forest grew black and
frightening by the side of the track. When it ended, a broad view far away to
the river opened up. On the open expanse of snow stood three houses, in
front of them a smoke sauna gushing with black smoke. Outside the sauna, in
the middle of a cloud of steam, stood a naked, stout, rubicund woman in bare
feet. The man offered the girl some Pushkin chocolate. It was dark and fiery.
The man glanced out of the window and caught a glimpse of the woman.
‘The pattern is crap, but it’s well-sewn.’
The girl doodled for a long time before drawing, on her sketchpad, a Siberian village in the midst of an endless landscape. The man stared at the
girl, his mouth slightly ajar.
‘There was a man called Kolya who had a joke that he was always telling:
in the army lads like us grew iron jaws, iron cheeks and an iron will. But the
welded seams were so well botched that when I got out of the army my frame
broke so badly that the only solution was a metre and a half of earth.’
The man went on laughing, but to himself, and had to wipe his damp eyes
on his shirtsleeves. He knelt on the floor, took his wrinkled newspaper out
from under his bed, folded it neatly and slipped it under his mattress.
‘Another bloke called Kolya, whose dreams hadn’t been realised, painted in
white letters against a red background the question: What’s keeping the happy
future? He took this placard and went and stood with it in Red Square. He was
there for three minutes before a military police car arrived and took Kolya with
it. He was sentenced to twenty-five years, the same amount that our forefathers
served in the army. And he lost his citizen’s rights for five years. What’s keeping
the happy future! Even the Red Square’s pigeons laughed at that!’
The fire-red afternoon sun spread across the wind-whipped sky. Enormous scraps of sleet fell behind the sun. The girl was looking for something
in her backpack; the man was laying the table for their evening meal. They
ate slowly and quietly, drinking well-brewed tea: black, Indian Elephant tea
that the girl had bought in the foreign exchange shop. After the meal, the
man would have liked to chat, but the girl wanted to be quiet. The man took
a knife from under his pillow and began to scratch the back of his ear with
it. The girl rested with her eyes shut. In this way they travelled through the
whole dusky night, sleeping and waking in their own rhythm.
The boggy landscape gradually changed to a flat, even terrain: ruined
stone foundations buried under the Siberian snow, collapsed wells, bird nesting boxes hanging from birch branches, villages where the dead windows of
abandoned houses stared at the train. The caterpillar lorry of the local dairy
centre had sunk into a snowdrift; in the field a horse floundered. Its back
was as sway as an old sofa. It pulled behind it a hayrack where, instead of hay,
there balanced a couple of buzzards, stiff with cold, tied together by the legs.
‘My little friend, do you know what day it is today? It’s cosmonautry day!
Not cosmonaut’s day, you see. And that is not all. Today is both cosmonautry day and the ascension day of our deceased great leader, today, the fifth
of April. WE all remember that on the fifth of April fifty-three, oh no it was
the fifth of March, the strong heart of the great driver of the train of history,
Generalissimus Joseph Vissarionovich Stalin made such a strong protest that
an hour later the funeral mechanism was in full swing. Joseph Vissarionovich
was a man of such terror and steely wisdom that he is still frightening. Now
girl, let us celebrate the death of Stalin, even if it is a month late.’
The man began to rummage furiously in his bag. As he rummaged, he
calmed himself.
‘I’m sure I’ll find it, I’m sure I’ll find it. A vodka bottle isn’t like a needle
that can get lost in a haystack.’
The bottle was not to be found in the bag, but under the mattress.
The man splashed vodka generously into both tea glasses, pushed one
over to the girl and raised his own.
‘Let us raise a glass to cosmonautry.’
The man refilled his glass.
‘The next glass is to our compartment’s magnificent young woman and
other Finnish mummy-like female figures. A glass to beauty.’
He refilled his glass and set his features in official Soviet mode.
‘Let us raise the next glass to the disputed great figure of world history, the
deceased great leader of the Soviet Union, its iron father, the postal robber of
Tiflis, the Jew of Georgia and the king of throat-cutters, Joseph Vissarionovich.’
The man drained his glass, bit off a piece of black bread and filled his
glass again.
‘Now let us raise our glass once again and it rises anew to the honour of
the steel man. Thanks to Joseph Vissarionovich for making the Soviet Union
into a strong industrial great power, for sustaining the belief in a better tomorrow and for the gradual relief of human suffering. A stick in the eye for
remembering the past, and two for forgetting it…. A glass, too, to General
Zhukov, the king of Berlin. Without him the Nazis would have turned Moscow into an illuminated reservoir and purged the globe of Slavs and other
unhygienic races, including the Finns.’
The man drained his glass and splashed another drop of vodka into it.
‘The Jews poured poison into the Great Leader’s mouth, and even though
I hate the Jews, I thank them for that fine gesture.’
The man drained his glass to the end and grimaced lightly at the window.
‘I remember this murderer and peasant-basher’s death very well. I was in
year three at school with Petya. Primary school number five, there was no one
or four. One had collapsed in the middle of a school day and construction of
four had been left half done. One morning when we went to school, Valentina
Zaitseva said that the father of all nations had fallen ill. That piece of information did not exactly touch a child’s mind. The following morning the teacher
told us that the Generalissimus was lying unconscious and that the doctors
said there was very little hope. So what, we went on playing. On the third
morning the teacher sobbed that now the father was dead. Some bright spark
asked what he died of. The teacher said that if you keep too strong a hold on
life, your breath stops moving and you can die of suffocation…. Me and Petya
walked home from school arm in arm, the factory whistles sounded as if in a
naval emergency, some men were crying and others smiling in the streets. At
home grandfather looked somehow peculiar, naked and strange. I gazed at him
for a long time before I realised that the bushy southern moustache had disappeared from above his swollen lips. Now a new life begins, grandfather said,
handing us some pretzels. Grandfather was a party member and one of his favourite sayings was that during Stalin’s time this was, for Communists, the most
dangerous and most unhealthy place to live.’
The man rubbed his chin for a moment.
‘There are thousands upon thousands of truths. Every bloke has his own.
How many times have I cursed this country, but what would I be without it.
I love this country.’
The penetrating smell of paraffin hung in the air of the compartment. It
came from the full vodka glass which trembled on the table in time with the
rattling of the train. The girl moved it away. The man followed the shaking
glass with his eyes.
‘Foreigner, you will offend me deeply if you will not drink with me.’
The man bit off a piece of pickled cucumber and stared at the girl, a sharp
expression on his face. The girl glowered at the man and then turned her
gaze to the floor.
‘Mum always gave me vodka to drink when I was ill. I got used to the taste
of vodka when I was a baby. I don’t drink because I’m unhappy or because
I want to be even unhappier, but because the serpent within me is always
calling for more vodka.’
They sat in thought without looking at each other. The girl thought about
her father and about the day when she had told him she was going to Moscow to study. Her father had gazed at her for a long time with a frightened expression on his face and then a tear had run down his cheek. Her father had
drunk himself silly, barricaded himself in his Lada and demanded to drive
his daughter to the station….
The train jumped violently on the points and stopped as if hitting a wall.
They were in Atshinsk. Arisa, the train attendant, shouted that the train would
stop for a couple of hours. The man did not wish to go out; all that would happen in the fresh air would be that his fine intoxication would evaporate.
The girl jumped on to the platform and headed toward the centre, which
was dozing through its evening activities. She walked along a lifeless avenue
to the town centre. A heavy sleet was falling. The town was dark and shapeless, damp and silver-grey, dishevelled clouds hung over the colourful houses,
a white moon shone through the curly carpet of clouds. The girl stopped to
look in the window of a grocer’s shop. It could have been built by Rodchenko;
packets of vermicelli dashed toward the sky like bolts of lightning. The girl felt
something warm on her foot. A small mongrel stray dog had peed on her shoe.
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The dog looked at the girl warmly with its button eyes, gave a bark and
showed its gold canines. It took a couple of steps, stopped, and stared at the
girl. The girl realised that the dog wanted her to go with it.
They walked along the deserted street. The girl could not hear the sound
of her own steps, although the sleet changed rapidly to snow, which wandered lazily toward the Petrovskiye avenue, turned along a narrow side road
and, after reaching the baker’s corner, lost its force and dried away. The frost
tightened its grip. The dog stopped and stood by a cellar window. The window opened and from within came a husky voice.
‘How many?’
The girl thought for a moment.
‘Two? Give Sharik a three-rouble note.’
The girl rummaged in her pocket for a note and, after a moment’s thought,
gave it to the dog. The dog snapped it up and disappeared through the window.
Soon two unlabelled bottles of moonshine appeared on the window sill. The girl
took the bottles, thanked the emptiness and walked along the ringing snowy tarmac back to the train. In the train she gave the bottles to the astonished man.
Humming, the man put the bottles into a special vodka pocket in his food
bag and fell asleep. After sleeping off the worst of his intoxication, he began
to set the table for supper.
When they had enjoyed a long and lazy meal, the man opened the compartment door.
‘Let’s let the world in.’….
When the girl stepped into her compartment, the man was sitting on his
bed wearing a pair of army long-johns, filing his toenails.
The girl offered the man a pile of newspapers that smelled of petrol. The
man said the train would not be continuing on its journey until morning.
This piece of information did not surprise the girl.
She sat for a long time on her bed, smiling. She looked at the man. The
man’s gaze was tired and dull, but even that seemed homely to the girl.
The clouds sailed across the darkening sky, bumping into one another. Finally night rolled, heavy and peaceful, over the train.
TRANSLATED BY HILDI HAWKINS

48
A stocky old car hostess appeared in the cabin doorway in uniform and
handed each of them clean sheets and a towel.
“No spitting on the floor. The passageway is cleaned twice a day. Your
passports, please.”
Having received their passports, she left with a sneer on her face. The
man nodded after her.
“That old bag Arisa has militia powers. She keeps the drunks and whores
in line. It’s best not to mess with her. She’s the god of heat on the train. Keep
that in mind.”
He took a folded knife with a black handle out of his pocket, removed the
safety, and pressed a button. There was a ringing of metal as the steel blade
clicked and sprang neatly out of the han-dle. He put the knife carefully on the
table and dug a large chunk of Rossiskaya cheese, an entire loaf of black bread,
a bottle of kefir and a jar of smetana out of his bag. Last he brought out a bag
of pickles dripping salt water and started to pop them in his mouth with one
hand while he de-voured the black bread with the other. When he’d finished
eating, he reached into the bag and took out a wool sock with a glass bottle of
warm tea inside it. He looked at the girl for a long time. His eyes showed reluctance at first, then a greedy curiosity, and finally some degree of acceptance.
“I’m Steel Ironavich,” he said. “Metal man and general laborer to the princes of Moscow. Vadim Nikolayevich Ivanov is my name. You can call me
Vadim. Would you like some tea? It has vitamins, so it’s good for you to drink
a cup or two. I was thinking for a moment that they’d given this old codger a
stiff sentence and put me in the same cage with an Estonian. There’s a difference between the Finlyandskaya respublika and the Sovietskaya Estonskaya
respublika. Estonian’s are hook-nosed German Nazis, but Finns are basically
made from the same clay as we are. Finlandiya is a little potato way up north.
You people are no trouble. All the world’s north-ern people are one tribe, a
northern pride holds them together. By the way, Miss, you’re the first Finn
I’ve ever seen. But I’ve heard a lot about them. You Finns have prohibition.”
He poured her a glass of black tea. She tasted it warily. He savored a small
sip of his tea, then got up and made up his bed. He undressed modestly,
taking off his outermost clothes, his thick black trousers with their narrow
leather belt, his light jacket sewn from coarse fabric, and his white shirt, and
folded them neatly at the end of the bed. He pulled on striped, sky-blue pajamas and crept in between the starched sheets. Soon his cracked heels and
toes twisted from poor shoes and neglect emerged from under the blanket.
“Good night,” he said with a bland look on his face, almost whispering,
and fell immedi-ately asleep.
The girl was awake a long time. The tea glasses and their shadows moved
around the dim cabin without lighting on anything. She had wanted to get away
from Moscow because she needed a separation, needed her own life, but now
she was already yearning to go back. She thought about Mitka, Mitka’s mother
Irina, Irina’s father Zahar, and herself, how they were all doing. She thought
about their temporarily shared home, which was empty now. Even the cats,
Miss Dirt and Tom Trash, were gone. The engine whistled, the rails screeched,
the rattling train pounded metallically, the man snored quietly all night long.
The sound reminded her of her father and she felt safe. Finally, in the wee hours,
as the shadows began to dwindle, she fell into a frothy, white dream.

She glanced at him, deep in his thoughts, and thought about Mitka and an early
morning in Au-gust. They’d been sitting on a concrete bench at the edge of Pushkin Square blowing clouds of smoke, waiting for dawn, when a drunken gang of
young people showed up and started to push and threaten them. They made
their way out of the group and hurried away, but one bald-headed goon went
after them and threatened to “knock the four-eyes’ brains out”. They were scared.
They ran across the square toward the street, but a car appeared at the end of the
street and she was sure that it would have skinheads in it, too. They ran down a
side street, cut across a court-yard, and sprinted sweatily to their door.

“The first time I ended up in South Siberia was at the beginning of the sixties.
It was at the time of the monetary reforms. A ruble wasn’t worth anything, you
couldn’t get food with good money, and they were asking fifty kopeks for a
pint at the beer stands. Around that time I was sitting in the canteen on a work
site and shoveling in some slop with Boris, Sasha, and Muha Dog. A work official came in, this felt-booted bumpkin, and said comrade, go to Sukhumi, in
the Crimea, southern Siberia, they need workers who can swing a hammer. He
shoved a piece of pa-per in my hand and disappeared like he was sucked under
the floor. I went and told Vimma thanks for the pussy and see you later, sweet
old fat-assed bitch, and headed for the station and rode a rattly train across the
wide open spaces of the Soviet Union. I ended up in Yalta instead of Sukhumi. They were building all kinds of little cabins, and when I told them I was a
human ma-chine, a concrete hero from Stahanov, I got work immediately. It
was the best summer of my life. I did nothing but hammer and whore. If you’re
wondering if it was humid there – you’d be wet through in about two minutes.
Sometimes I went to the movies at the Construction Worker with some broad,
watched adventure flicks. Three Men in the Snow. Lost in the Ice. And what
was that one I liked... Three Friends on the High Sea. Whenever I remember
that summer my mouth waters. You didn’t fetter your life with reason back
then. But then came this last bitch. Katinka. She warbled in her sugary voice, let
me wash your shirt. That’s when my life ended and I had nothing ahead of me
but sinking deeper into a pit of alcohol and endless wandering.”

A paled sun revolved on the horizon. The dusky forest rose up muttering toward a cloud-embroidered, unsteady sky. The man appeared in the passageway,
and the girl went into the cab-in, felt the rumble of the rails, and fell asleep.
When she woke up, he was looking at her with a very offended expression
on his face. She smiled at him, thinking about how logical the whole thing
was. She had left Moscow because now was the right time to realize her and
Mitka’s shared dream of a train trip across Siberia, all the way to Mongolia.
True, she was making the trip alone, but there was a simple reason for that.
The man had taken a worn deck of cards out of his bag and started to
play solitaire.
“Georgians,” he said. “They’ve got legs like giraffes and they know how to
sell them-selves to guys like me so well that you forget you paid for it. An Armenian’s history has beaten her down, made her a humble lesbian, a pleasant
IN DIVIDUAL AN D COLLECTIV E C HOIC ES IN SIDE AN D OUTSIDE OF TH E E N L ARG E D EU ROPE
STANO MASAR: NEW WAYS
companion who won’t discipline her children. A Tatar only likes Tatars, a uncertain what to do, where to go. They walked with frozen toes, arm in arm,
Chechen is a combination of an excellent baby machine and a drug dealer, to Lenin Street, but the trip didn’t add any weight to their shopping bag. They
the Dagestanis are small, thin, ugly, and smell of camphor and the foolishly made a quick run over to Timiryazev. There they found a bottle of cologne for
proud Ukrainians are always plotting nationalist conspiracies in their hor- Yuri, but nothing to eat. They swung by Chistiye Prudy on the bus, brought
rible accents. You get to where you’re deaf to it. And then there’s the Balts. Yuri his cologne, and got two eggs from him. Why not go to the currency
They cause all kinds of shit. It’s no secret. They’re too practical. They walk exchange shop? he asked. I don’t have any dollars, the girl whispered, we alaround with their mouths turned down, their eyes straight ahead.”
ready blew all of it, plus my stipend, at the beginning of autumn. Yuri yelled
He tapped his fingers on the tabletop. The girl coughed wearily, but he after them to go to the market, for God’s sake, although he knew that there
didn’t take any notice of this indication of her thoughts.
was nothing there. On Sokolniki Street they found two big jars of borscht,
put them under their arms and headed proud-ly to the tram stop on Tver
skoy Boulevard, and Irina glanced at her watch and said that she should have
The train sped whining across the flat, floating landscape, under a sky frothy been lecturing at the institute a long time ago. A country woman was shiverwith winter clouds. The living forest beyond an open field tossed a flock of ing in front of the paper shop and she bought a handsome gladiolus from her
sparrows at the sky. She calmed herself by watching the black, starkly drawn and handed it to Irina, and just as they were about to leave, the woman whisshadow of the train on the bright snow.
pered that she had two chickens in her bag. Were they interested? Of course!
Irina
said, and settled on a price. They ran to the nearest metro station. Irina

took the blue line to the institute and the girl went home on the yellow with
She thought about Irina, how she might be sitting in the smoking room of her bag full of chickens. Zahar was home and she asked him to come in the
the advanced chemis-try institute, behind the Achievements in the National kitchen and opened her bag and there they were, two mouth-watering, flutEconomy pavilion, smoking a cigarette and getting ready for her next lecture. tering brown chickens with rubber bands wrapped around their beaks. Zahar
She thought about Zahar, who could see through her, and Mitka, who was looked at them and said that with a few weeks of seed feed they would be
good. A little kitten appeared in the corridor and looked at her beseechingly. ready to stew. They took the squawking chickens into the bathroom. She
She picked it up and held it and petted its rumpled fur. At the insane asylum, laid some of the laundry on the bottom of the tub as a cushion. The wooden
Mitka had said that so-cialism kills the body and capitalism kills the spirit but towel rack served as a perch. They called the little one Plita and the big one
socialism the way we have it harms both the body and the spirit.
Kipyatok. The day before Mitka’s party Zahar slaugh-tered the fattened chickWhen Mitka turned eighteen, she and Irina had the task of finding food ens expertly in the bathroom and plucked them on the balcony. Then Irina
to cook for his birthday party. They had started gathering ingredients back taught her and Mitka how to cook chicken the Stalinist way.
in March, and had managed to find all kinds of things, but Irina wasn’t satisA pale gray half moon chuckled above the snowy, silent, melancholy forfied. One morning they went out to hunt for groceries at six AM. They rushed est, keeping gleaming red Mars company. A little boy was singing to himself
through the dry, freezing weather to the Yelisev shop, but they didn’t find while he played with a painted whistle in the shape of a chicken at the other
anything there, not even bagels. They hopped onto a freezing tram, angry, end of the train car corridor. When the nocturnal light of the moon dimmed
and rode past the Boulevard and the snowy maples to the fragrant bread and turned dirty, the girl returned to her cabin. She was hungry and tired.
shop in Bronnaya. There they found two small pieces of good bread. They
The cabin smelled like Consul hair tonic, the kind you can buy at party hotel
got on the trolley, which was so hot that they were covered in sweat, and kiosks. The man looked at her from the end of the trail of scent, shy somehow.
trun-dled hopefully to Zachaczewski Lane. There was a grocery there where
TRANSLATED BY LOLA ROGERS
Extracts from the novel Hytti nro 6 (‘Compartment no 6’), WSOY, 2011
Irina had once found two cans of high-quality sardines. They didn’t find any(Book from Finland, 2011)
thing, though, not even pickles. They stood for a moment in the windy street,
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J U D I T H R O T E M I N C O N V E R S AT I O N W I T H TA M A R R O T E M
All about my Mother
ROTEM, Judith
Distant Sisters:
The Women I Left
Behind
Jewish Publication
Society of America,
1997
50
She wore daring attire, lost herself in forbidden books and chafed under the stringent religious dictates imposed on women.
Yehudit Rotem, a mother of seven, eventually left the ultra-Orthodox world and
became a successful author. Upon publication of her ninth book, she talks about
her extraordinary story with her daughter,
Tamar Rotem.
As a child I never saw my mother writing. Who
can write books when you have seven children
underfoot?
She never recited the Shema prayer with us
or sent us to do the ritual hand washing before a
meal. Nor did she instruct us how to sit properly.
Such petty matters were my father’s department
(“Put your feet down!”). You would never catch
her going to the grocery store or carrying shopping bags. That’s how she became the “prima
donna” of the grocery store delivery boys, who
worshiped her. She never devoted much time to
preparing or eating food, and still doesn’t. Cooking, like doing the laundry and cleaning, was a
necessary evil, to be finished quickly before moving on to the really important things. Usually
spiritual things. Of course, she put pots of food
on the stove, cut vegetables for salad (“like in a
restaurant,” she would declare, when we complained about the overly large pieces), ironed and
sewed buttons, and mended socks. There was no
choice with so many mouths to feed, children to
dress and worn-out socks.
I vaguely remember that once when I was a
child she baked cakes (poppy-seed yeast cakes)
for Shabbat. On the other hand, she studied and
also excelled at buying and matching clothes. The
whole clothing issue has been a serious matter
in our family for several generations, comparable only to the big deal we made of books. Piles
of books were purchased for every birthday and
given to us after finding the afikoman at the Passover seder, but my mother still frequently took us
to the central library in Bnei Brak. Until the fanatics burned it down in the 1980s. And every evening
before we went to sleep, she read stories in installments to all of us − from eldest to youngest.
Her appearance was also entirely different
from that of my friends’ mothers. My mother
looked at least 10 years younger than they did, if
not more: slender, made-up, daring. When my mother walked along the streets of Bnei Brak, people
would turn their heads. Local residents were simply amazed at how she looked in a dress with a
tight-fitting belt and a long-haired wig. Not at all
modest. As a teenager, of course, I did not see
my mother’s unusual appearance as an advantage.
And I certainly didn’t think she was “cool”; that
was a word I didn’t know at the time.
Why did you decide to write about a subject

that is so sensitive and hushed up in Haredi society?
“In my first book, ‘Distant Sisters: The Women

I Left Behind,’ which documented Haredi society,
I wrote about the subject [of niddah] cautiously.
I felt like I was walking on eggshells, if you know
what I mean. Afterward I mentioned it indirectly
in several of my books.
This time I felt a need to return to the subject,
to speak about it without concealing anything. On
the one hand people talk about it in secret, as
though about the epitome of modesty – and on
the other hand there are posters in the streets of
Bnei Brak advertising rabbis who lecture on the
laws of purity. What do they know about women,
about their feelings? It infuriates me. As someone
who writes about that world, I can’t omit such a
significant thing. But on the other hand, it also
frightens me to write about it.”
What is the source of your fear?

“From the day that you begin to develop any

awareness, they pile guilt on you. This is an intimate matter, and it’s as though I’m pulling aside
the curtain and the screen, and invading an intimate space. Niddah and the laws governing marital relations are actually the most precious thing
to Haredi society – the thing they hold most sacred and the most basic thing in their lives. They
believe that the Jewish people owe their continuity to their observance of the laws of purity. When
you’re inside that society you lock yourself into a
built-in framework called ‘purity’; those who don’t
are automatically less holy and pure.
“In the book Shulamit doesn’t want to know
about sexual relations until the last moment. She
finds the entire issue threatening and unnatural, because it’s not part of the fabric of everyday life, in which there is no contact between
men and women. It’s a complex business, full of
contradictions.”
How did you feel about those contradictions

when you were married?
“I didn’t know about those halakhot [dictates]

before my marriage, but it intimidated me. First
they educate you not to go out with boys, and not
to hang out with them, and then when you get engaged they tell you not to touch him or look him
in the eye. And suddenly at night you have to do it.
Before my marriage I thought it was death. That
dying is preferable.
“There’s something dissonant about it. Even
in the fact that women are forced to leave the
house in the evening to immerse themselves in
the mikveh, which is an activity that is liable to
expose them to everyone (they know not only
when you go, but when you have relations with
your husband). And therefore an effort is made to
conceal leaving the house from girlfriends, sisters,
from the children.
“I can’t really say that I accepted that. But the
scare tactics they use! That [if you don’t go to the
mikveh] the children will turn out to be defective,
that if you deviate in the slightest from this thing,
you’re bringing down destruction. You don’t dare
to think differently, because, after all, you’re educated in Beit Yaakov to think that women don’t
understand anything. That the men received the
Torah and they teach us the way.
“I was insulted by this attitude toward me as a
niddah, a forbidden woman. Today I don’t believe
I was the only one disturbed by it. But there wasn’t
a single female friend with whom I felt I could
talk, without her running to her husband or to
the mashgiah (the spiritual supervisor), and in the
end they would give me a bad name. I felt abnormal. Am I the only one bothered by the fact that
nothing will be put into my hands [by a man] because I’m impure – that the baby won’t be taken
from my hands when I’m ‘forbidden’? Was I the
only one who felt hurt when my husband separated the beds on the wedding night immediately
after the act? That can’t be. It’s simply something
that people don’t talk about. Maybe now the talk
has become more open, but it’s still forbidden to
criticize the system.”
Religious women talk about immersion in
the mikveh as though it were the most wonderful thing in the world. In general they describe
observing the laws of niddah as a surefire recipe for love.
“Forbidden, niddah. Those words in themselves are an insult, in my opinion. When they tell
you that you are niddah and impure because of
blood that ‘emerges from your source’ – shouldn’t
you be insulted? Blood is the source of life. Without that blood you can’t bring children into the
world. The purest and most natural thing in the
world, because of it you’re impure. There are
women who find justification for that. Look, two
weeks a month they don’t have to be preoccupied
with the whole issue of sexual relations. They can
read books in bed. In general, Haredi women glorify the entire issue. They’ll say that the prohibition two weeks every month causes a sense of renewal. One of my interviewees in ‘Distant Sisters’
IN DIVIDUAL AN D COLLECTIV E C HOIC ES IN SIDE AN D OUTSIDE OF TH E E N L ARG E D EU ROPE
told me that it’s like getting married again every
month. She got divorced in the end.
“You’ve just given birth and your husband is
not allowed to say ‘mazal tov’ with a kiss and a
hug. He has to keep his distance. He is not allowed to touch you with affection. When you sit
at the table you have to place on it a hatzitza, a
sign of separation. A hatzitza has to be something
that doesn’t belong on the table. A watch, for example, not a plate. Anything that will remind you
of your rejected, impure, excluded status. There
are people who may be able to accept things better than I do. I have only my own life, and that’s
what I tell about. And in any case, I was never like
everyone else.”
to say for “the teacher Bracha,” who taught her
everything she knows about grammar and Hebrew. And that’s no small thing. That same Bracha
used to scold me and tell me I wasn’t as good a
student of Hebrew as my mother.
My mother used to get books in the home of
her girlfriend, the Wallersteiners. “It was a family of Yekkes [German Jews]) who taught me the
meaning of art and culture, and gave me books
to read,” she says. “In the Histadrut House, too,
the librarians understood that I was one of those
girls who has to read, and gave me three to four
books each time. I used to read while walking
home, but other girls reported me to the principal, and they called my father to reprimand him
about his rebellious daughter. That created a great
rift between us.”
Traumatic transition
My mother’s life story is part of the history of
My mother was never like everyone else. I think
that her rebelliousness from childhood was actu- the growing extremism in Haredi society. “In my
ally a natural and normal reaction to the chronic class they began to force the girls to wear long
discord in her life. She was born to parents who stockings. As I grew up, more and more restricdidn’t understand her and her needs, and grew tions were added. The indoctrination of girls to
up in a society that sanctifies uniformity, and has study at the teacher’s seminary – so that as teachno place for individualism and creativity. At 18 she ers they could support their yeshiva-student husfled from the circumstances of her life – only to bands – began then,” she explains.
“I remember the day [Prime Minister David]
marry the wrong person.
Her parents were Holocaust survivors from Ben-Gurion came to visit the Hazon Ish [leading
Hungary who had become impoverished. Thanks rabbinical authority Rabbi Avroham Yeshaya Kareto their “pedigree” – my grandfather was the head litz], and the entire city was in a tizzy. We all ran
of Agudath Israel youth movement in Budapest – to the home of the Hazon Ish, which was a small
my grandparents and their daughters, my mother, and rickety house.”
At that fateful meeting the two leaders agreed
aged 2, and her younger sister, were rescued in
1944, via a train organized by Dr. Israel Kastner. that yeshiva students would not be drafted into
They thought they were free, but they arrived the army, and that studying Torah would be their
at the Bergen Belsen concentration camp where profession. Toward the end of elementary school
they stayed for seven months. Afterward they con- they started to pressure my mother to register for
tinued to a way station in Switzerland, and in the Rabbi Avraham Wolf’s seminary. He was the same
rabbi who had offered the Hazon Ish to promote
end they immigrated to Israel.
They didn’t adapt to life in Israel. “Everything the education of girls, so that they would agree to
was contrary to their expectations,” my mother support the men. And so, as Menachem Friedman,
recalls. “My father sent money [for the family] to the expert on Haredi society, explains, the “learnIsrael that ended up in other hands. He had to ing society” was established thanks to the collabostart from nothing, and was very bitter.” At first rative effort of the Hazon Ish and Rabbi Wolf.
he was proud of Yehudit, for her excellent command of Hebrew, while they could barely speak, ‘A tough breed’
she says. When guests came to the house, he But my mother, who rolled down her socks after
would wake her up and put her in front of the school and would even sneak into the movies, deguests to recite her poems, which were pub- cided that this destiny was not for her. Contrary to
lished in the children’s newspapers of the time. her father’s wishes, she went and registered herBut then the family moved to Bnei Brak, and self in a Haredi girls’ high school that was quite liberal due to the very fact that they did matriculaeverything changed.
“At first we lived in Givat Shmuel, in a small tion there. Her father exploded with fury.
“My father, who admired Torah scholars and
house with fruit trees, and an orchard opposite us.
I would sit there in a little spot under an orange had a tendency toward extremism, began to study
tree, and didn’t go back until they called me to every day in a Lithuanian-style kollel (a yeshiva
for married men),” she says. “He grew a beard
come home,” my mother recalls.
The transition was sharp and traumatic. In the and brought home new stringent rules. Somehow
nondescript and unlovely city, in the strict Zichron the rumor spread that I wanted to study in that
Meir neighborhood at the foot of the renowned school, and all kinds of rabbis came to the house
Ponovezh Yeshiva, they did not exactly welcome – even Rabbi Wolf – to convince me to study at
a girl wearing short gym pants. “They registered the seminary.”
At the age of 13 she went on foot from Bnei
me for Beit Yaakov, which looked like a barracks,
with grim-faced teachers who immediately for- Brak to the high school in Ramat Gan (she didn’t
have the money for a bus ticket): “A handsome
bade me to read.”
Those teachers will appear in a more ad- bearded man opened the door and asked ‘Child,
vanced stage of the plot, when they also become what do you want?’ I said, ‘I want to register for
my teachers. My mother does have a good word the school.’ He asked, ‘Where’s your father?’ I told
him, ‘He doesn’t want me to study here.’ ‘No.
I asked where he’s from,’ he explained. I replied
that he was from Hungary. He said: ‘Oh, so that’s
the real reason.’ He meant to say that Hungarian
fathers are a tough breed. That was the principal
I admired, Shaul Lustig. It was an expensive private school, but I got scholarships. All those years,
for every little thing I did my father threatened to
take me out of the school,” continues my mother.
At the end of 11th grade he really did take
her out. Meanwhile the prohibitions continued,
against going to a youth movement, for example.
She went in secret, and when she declared that
she would do National Service, there was uproar.
“I had my pride. I left the school and completed a matriculation certificate and a teaching certificate in external exams, and because I didn’t want
to live at my parents’ expense, I began teaching at
the age of 17.” She used to take several buses to
her job in the immigrant neighborhood of Azaria
in the Ramle area. During that same period she
met my father.
“He saw me at a wedding and sent messengers
to me. My parents weren’t enthusiastic at first. But
one day I came home from school on the motorcycle of a handsome guy who taught with me. He
was Mizrahi [of Middle Eastern origin], and my
Hungarian parents panicked and decided immediately that I had better get engaged. I was engaged for an entire year. I regretted it, but was
afraid to break my promise. They warned me that
breaking an engagement is worse than divorce, so
I got married.”
I don’t understand. After all, you rebelled all

the time. You went by yourself to register for a
high school where they didn’t teach you how to
support a yeshiva student. You could have studied at the university. So why did you marry a yeshiva student?
“I wanted to get married to leave my problematic home. But I didn’t really understand
what it meant to be the wife of a yeshiva student. And on the other hand, who could I have
married? Boyfriends from the Bnei Akiva or Ezra
[religious] youth movements were out of the
question. And boys of the type my father wanted
– Haredi men who worked – had all been educated in the yeshivas.
“I was a very ideological girl, with values, and
I aspired to a spiritual world. In the evenings my
husband would explain the [Haredi] system and
the way to me, and I was naive and wanted to accept God’s kingship. After all, as a young woman
you want to admire and worship your husband.
He portrayed himself and the yeshiva students
as spiritually elevated, and said the world would
collapse if the voice of Torah was silenced for a
moment. And you, the woman, had the supreme
privilege of ‘contributing’ to the achievement of
these lofty goals by your actions.
“My father forced his theocratic world on
me. I told myself that as a Hungarian Jew who
hadn’t studied enough, he hadn’t acquired the
right hashkafa (religious viewpoint), but if I married a yeshiva student he would explain it to me.
I thought there was some secret there that only
I didn’t understand.”
51
H u n g a r i a n
L e t t r e
•
S p e c i a l
E n g l i s h
E d i t i o n
Sp ring 2014
52
Dead children
Until the age of about 12 I didn’t know that my mother had given birth to two more girls who died
tragically. Yaeli [the eldest] was born before me
and Racheli was born after me. Of course I heard
the rumors; Haredi society was like a small village
at the time, and everyone knew about the tragedies. And what they didn’t tell me, I figured out
in my own mind. Only when I grew up did my
mother begin to tell what had happened. Later
she wrote about it at the end of the book “Kria’a”
(“Mourning”), her most autobiographical novel. In
almost all her books there are dead children.
“Until Yaeli was born I wasn’t happy. Your father
would observe a ‘speech fast’ (refrained from talking) every Monday and Thursday, and from the
beginning of Elul (the month before Rosh Hashanah) until after Yom Kippur. During the High Holy
Days he wasn’t home. Yaeli’s birth was compensation for everything I was missing. For me the
child was light, sun, air, life. I didn’t need anything.
Until everything went wrong.”
On Rosh Hashanah, when everyone was praying in the yeshiva, my mother entered the synagogue to hear the blowing of the shofar – one of
the only commandments that women are obligated to observe. Outside older girls watched over
the babies in their cribs. Yaeli, almost a year old,
put her head between the bars of the crib and suffocated. My father was spending the holiday in another yeshiva. My mother ran from the top of the
hill to the village below, with the lifeless baby in
her arms. A yeshiva student was with her. Someone took them to the hospital in Haifa, where the
baby was pronounced dead.
The second tragedy, the death of Racheli, happened when I was 18-months-old. I have no memories of it, and even when details of the first accident became quite clear, the fog was not lifted
over the circumstances of the second.
“The second disaster could have been prevented. I begged your father not to leave me. But he
insisted on going to the kollel. There were no
neighbors in the building, there was no telephone,
there was a storm outside and there was nobody
to call. I was alone. The child turned blue and
died in my arms. I thought that if it happened to
me again, I wouldn’t survive. But it happened. And
I remained alive in spite of it.”
My mother used to say that after her tragedies,
she wanted to continue having children to compensate for what she’d lost. That’s how she got
to seven children [six girls and one boy]. But she
also did this in the context of a society that had
begun to adopt high birth rates as an ideology. To
this day, when it comes to the number of children
a family has, my mother is not as critical as on
other subjects.
“After the Holocaust most of the families in Bnei
Brak had few children,” she recalls. “Only a few had
big families, and they were looked down on. My
mother didn’t allow me to become friendly with
girls from such homes, because ‘their house is
probably not clean enough.’ In Rekhasim I discovered the beauty of large families and I liked the idea.
“Among the Haredim it became an ideology, for
religious and demographic reasons. I had nothing
to do with that. My pregnancies and births were
easy. For me, they were the only outlet for creativity, self-fulfillment, compensation for emotional deprivation. I was happy with every pregnancy.
I believe that the same is true of many women.
Today women understand better than we did that
it’s hard to raise children. We were the first generation of redemption – or slavery.
“I’m glad to have had the experience of many
children. That’s my advantage. That enables
you, when you start at a young age, to get to the
cycles of life on time. To be a young grandmother. When my grandchildren get married I’ll have
great-grandchildren. I’m curious to know what
that will be like.
“I think that the number of children shouldn’t
be determined by social affiliation. If a successful
and loving couple knows how to raise children,
why shouldn’t they have a lot of them? But when
it’s done because of halakhic coercion rather than
by choice, it makes me sad and angry.”
‘Rending and mending’
My parents often moved, but for most of our lives
we lived in Bnei Brak. My mother continued to
be the same rebellious child, even when she had
children. Sometimes she skipped parent-teacher
meetings (“You’re good girls. I don’t have time to
wait in line”). Mainly she objected to the exaggerated preoccupation with modesty. She didn’t feel
she had to account to anyone. Certainly not to the
teachers she used to have.
One day when I was in second grade, I came
to school in such a short skirt that the teacher exploded. She immediately sent me out, but made
sure to go home with me to reprimand my mother, whom she knew very well. When my teacher and I arrived at the house, it was morning and
my mother was probably busy feeding her babies. When she heard the knock on the door she
opened it only a fraction. “Yes?” she asked my
teacher suspiciously, without noticing me; if she
did, she didn’t express any surprise. The teacher
began to preach: How could you send her in such
a short skirt? “What do you want?” my mother
asked. “After all, she’s wearing stockings. She’s not
naked.” And she slammed the door.
She wasn’t such a heroine when it came to
her relationship with my father. She shed a lot of
tears to convince him that I should learn to play
the piano, or that I should attend the seminary in
Tel Aviv instead of the one in Bnei Brak, which is
stricter. I was also witness to her despair when she
discovered, more than once, that he hadn’t left
her any money to buy bread and milk; because
she didn’t work and only raised the children, she
was totally dependent on him financially.
The main character in my mother’s story, Shulamit, also undergoes a major change. But I’m
more interested to learn when the heroism began
to erupt from the woman I know and remember
– the one who lay in her bed during large parts of
my childhood, with her eyes as weak as those of
the biblical Leah, as it were.
“It was a process,” my mother explains. “I became sickly when I arrived in Bnei Brak. I started to have stomach aches, I lost weight. I didn’t
want that life. When everyone went to kindergarten and school and I had time for myself, I started to feel the pain of a missed opportunity. I read
‘Anna Karenina’ and identified with her. In the
book ‘House of Women’ I read about the despair
of women in the suburbs and understood them.
At every stage in my life I found the book that suited me at the time. The books shook me up. When
I read ‘Passages’ I felt that I was part of a huge
movement of people who make major changes in
their lives. I was ‘inside’ the passage.”
“Time doesn’t dull …,” says my mother finally,
leaving half a sentence in the air, while we are eating vegetable soup. My sister Noa is filming us during the conversation, for a movie about the major
rift in the family after my parents’ divorce. But in
spite of the presence of the camera, we somehow
manage to achieve an understanding that is beyond words. There is far less than a generation between me and my mother. And, after all, she and
I were there together, during a long chapter in the
complex script of her life.
My sister, who is almost 10 years my junior,
wants to know before she puts away the camera
whether writing leads to healing.
“Every writer writes out of a wound,” replies my
mother. “I didn’t invent that. I don’t think the rift
will disappear. It’s an endless process of rending
and mending.”
(excerpt from a longer interview
published in haaretz.com in 2012)
STANO MASAR: AFTER VELAZQUEZ
My parents moved to a small community in the
northern part of the country called Rekhasim. On
top of the hill sits the Knesset Hizkiyahu yeshiva,
which was the center of the lives of the yeshiva
students’ families.
“It was a wonderful community,” my mother recalls. “I had wonderful friends there and the rabbi’s
wife, the widow Hannah, who ran the yeshiva, really adopted me. I used accompany her to the yeshiva kitchen and help her. I liked the life there. I became friends with wonderful couples and women …
They had a phonograph and I had records. I used
to bring my records, and we would both sit and
listen to classical music together. Everyone knew
that I read books. The mashgiah told my husband,
‘I heard that your wife reads books. She’s liable to
think that life is like in the books.’ ”
IN DIVIDUAL AN D COLLECTIV E C HOIC ES IN SIDE AN D OUTSIDE OF TH E E N L ARG E D EU ROPE
PA U L I I N A R A U H A L A
A Heavenly Song
PROLOGUE
Aleksi stopped by the window to watch the sun framing the woman. Her
corn-coloured hair was lit up into a golden halo. The wind caressed it and
nuzzled it with abandon, whirled its apple scent. He wanted to do the same.
Aleksi wanted to examine the woman’s laughter: how it began, carried
on and ended. Her face became smooth and soft; she became the young girl
Aleksi kissed clumsily for the first time, nearly exploding with love. That’s
enough, her cherry lips mouthed breathlessly, her trembling hands pushing
him away. We have the rest of our lives.
The woman was laughing at the children. There was the four-year-old
hanging onto the climbing frame, the woman looked like a torture victim
when giving birth to her; there was the three-year old balancing on the swing,
her arrival a little gentler; and the one-year-old, sturdy in his pram, had burst
forth with a raised fist like Superman. The woman’s pelvis, stomach and
breasts had to endure a great deal. They remained Aleksi’s own private nestling place for too short a time. She barely had time to open up to him, he
barely had time to cherish her before they had a child, children.
The woman swung, light and care-free, and sang. The youngest one sat on
her lap, the middle child on the next swing. She rose upwards like a swallow
to sing in the blue sky of their home. She had no time to yearn or mourn. The
world was beautiful. She was profoundly beautiful. Aleksi would have liked to
swing with the woman, the two of them together.
The swing stopped. The warbling ceased, the sun disappeared behind a
cloud. The woman’s eyes clouded over, her cheekbones and temples showed
shadows again and her body stiffened. She shook sand off herself and the
children and they walked to the door. Time to eat. Meat balls, mashed potatoes and a salad of grated carrots and pineapple cubes.
In the hall, Aleksi held the woman tight. She looked at him, surprised, and
gave him a friendly cuddle. She did not look or touch him with any ardour.
Her stomach came between them, needed its own space. Aleksi wondered
when she ceased finding the warmth of his skin restful and felt she needed
strength to cope with conjugal love. How could her body summon up the
energy to be a source of pleasure for a man when she swelled and shrunk,
bore and nourished, woke up and stayed awake year after year. She should
try to find the courage. Her body’s softening and yielding had consequences,
a thought hard to bury.
Aleksi wondered at what precise moment he started feeling that his love
caused suffering; that though the woman remained by his side – faithful and
industrious – she was gradually hardening and about to vanish.
I stay away from the human market place. I have nothing to show off. I do
not dress in layers of brand names. I do not eat small portions in expensive
restaurants. I do not follow changing fashion trends, alter the interior of my
home every six months or take up some intriguing hobby every autumn. Why
does Eve’s every part have to be remoulded? Lady fitness, dyed and artificial nails, Body Pump, bikini waxing and plumper breasts. My freedom consists of walking past the reconstructing parlours and advertising posters for
women, my hair flowing back in the wind. I push a twin pram in a scented
forest, pick chanterelles and blueberries with the children and go back home
when it is time to eat. We walk on a beach barefoot, waves murmur their tales
and the children come up with their questions when the sky is painted red
with dusk and there is no hurry.
I am naked among other people. Anyone can count the freckles on my
pale face, anyone can peer into my soul through my eyes, not masked by
paint. But this world is only interested in the nudity of certain body parts
– a face is not among them. The world takes no interest in a human being
whose face is bare and whose body is clothed. Rarely does anyone give me
a second glance in town, I have no trouble of that sort. I would shudder at a
man’s roving gaze on my body and the instant glint of assessment in his eyes.
This world loves to reduce the sexes into cartoon characters, special
men and special women who only see their own reflections on each others’ shiny surfaces. I love moderate men and moderate women who see
nature in man and man in nature. I love men and women walking side by
side in windcheaters on duckboards. I love men and women with rucksacks
skiing one after the other on a fell. I love thin male bodies grown sinewy
from work, I love female figures softened by motherhood. I love men with
gentle faces reading a newspaper, I love women who sit in a rocking chair
breastfeeding. I love evenings when children are asleep and quiet men take
their wives’ veined hands into their own and whisper ‘this is good, please
God lead us not into temptation’. I love stooped old people who lead each
other by the hand to the post-box and the grocery store just as they have
done all through their lives.
I have made love to one man during my life and I am not ashamed of
it. I am not ashamed of love that has endured a tentative start. I am not
ashamed of love that has survived everyday routines. I am not ashamed of
love that does not get tired when children are born. I am not ashamed of
love that does not shy away from ageing. I am not ashamed of love that is not
merely a temporary commitment until better fortune and greater pleasure
turn up. I am not ashamed of trust that has not been betrayed.
Chapter 7
Chapter 6
On my twenty-ninth birthday I get several presents: a pedicure, a neck and On my twenty-ninth birthday I get several presents: a pedicure, a neck and
shoulder massage and a gift card for a posh department store. That means a shoulder massage and a gift card for a posh department store. That means a
whole day in town by myself.
whole day in town by myself.
I walk along the familiar cobbled streets and stop at the market by the
I walk along the familiar cobbled streets and stop at the market by the
sea and in the park split by a canal. I look at the world with the eyes of some- sea and in the park split by a canal. I look at the world with the eyes of someone who has been away a long time: I am close and yet far. Was it always like one who has been away a long time: I am close and yet far. Was it always like
this, is it still.
this, is it still?
I am filled with longing and I am not.
I am filled with longing and I am not.
I mirror myself against others and see my human reflection.
I mirror myself against others and see my human reflection.
I am a free woman.
I am a woman in chains.
I do not buy myself an appearance, I do not construct a biography nor
I am a prisoner of my womb and I cannot plan my life beyond the next
do I practice the art of controlling my life. My looks have, by and large, been nine months. Menstruation constitutes my sole calendar. I bleed, I stop
given to me, the story of my life grows within me without a script, and in bleeding, I carry a child, I stop carrying and I bleed again and that is all I am
place of control, I concentrate on abandonment.
permitted to expect.
53
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I push a pram when maple leaves are bright yellow. When crocuses raise
their heads out of the black soil, tiny new feet kick against my stomach. And
when maples are yellow again, I fetch the carry cot, still free of dust, from the
attic and fix it to the pram.
I lie on my back in a rowing boat without oars and wait. I wait for the
waves and the wind to carry me ashore at last. I watch, silent and immobile,
screeching seagulls swoop for fish; I see their strong, white wings taking
them back and forth. On black nights I look at the stars and pray to God for a
favourable wind and a kind weather. I curl up into a ball in my damp sleeping
bag that cannot keep me warm. On bright days, I see glimmering water and a
horizon with two shades of blue side by side and there is nothing more beautiful. But then another storm brews, rain beats down and the waves grow. My
boat rocks, there is no land in sight and I feel sick.
I am a woman worn down by life and procreation, old while still young.
I see a strange, pale figure in the mirror. It is hard to focus on her dimmed
eyes, and her cherry lips have pleated edges. It is a frozen body that has encountered too much in too short a time. It has to suppress its internal din. It
cannot hear sounds coming from outside very well either. Who spoke? What
did they say? Where did the music disappear?
I am waiting for middle age as if it were a finishing line and I fear I am
going to collapse on the running track of the gym in the middle of it all. I had
to choose my sport when very young, without a single training lap. All I had in
my mind was an image of women in a keep-fit class exercising gently. I found
quickly that my body is poorly adapted to this form of exercise. My muscles
are not firm, my stamina is nonexistent. The gym clock crawls desperately
slowly. There are too many laps remaining, the number of repeat cycles is terrifying. Four times ten, three times twelve, two times fifteen. I pant heavily, my
legs and hands filled with lactic acid. I have stitches on my left side. I cannot
do many of the movements correctly even after all these years and they hurt.
I stumble over my plimsoll laces, undone once again. I swallow back my tears
and touch my battered knees and elbows, while my sisters with dainty legs
gambol like a fresh herd of gazelles past me onto a new lap and chatter to each
other, care-free. The air feels too thick to inhale. I want out.
I bitterly mourn the day when someone will sneeringly remark that I and
my husband are ill-matched: one is old, the other one young.
54
Chapter 21
It is almost as if Aleksi and I were on a date.
It feels like a celebration in the car. For once, I am sitting at the front. No one
is reaching out or asking questions from the back. Aleksi puts on Bach’s Chorale O Christ, our true and only light. In our woollen coats and grey mitts
with Lapp patterns we are again on our way to making our wedding vows in
sight of God . I ask Aleksi to take the longer route – there is no hurry and
no one is keeping an eye on us. Aleksi places his hand on my knee and I am
the twenty-year-old Vilja again whose heart jumps when a man’s hand makes
a bird’s nest on her knee, a blackbird’s nest on a summer night. I hold my
breath; sound of lute song and the warmth of a setting sun on my leg and
I am lost for words.
It is just the two of us, he and I, far from home. We are sitting side by side
on creaky office chairs, my forehead resting on Aleksi’s shoulder. It was almost worth getting pregnant just for this, I whisper. I hope there is a queue
and they are behind schedule. I wish for faulty equipment and nurses on
sick leave.
We are surrounded by big-bellied, overdue women fed up with their condition, by women with smaller bellies stroking their stomachs gently, and by
others with no discernible bellies, smiling expectantly, nurturing a secret inside. The men by their sides are caring, awkward. We barely notice them for
we are alone and holding each other’s hands.
Aleksi has come to each ultra scan. It is so important to him that he is
prepared to send the children to the moon in a rocket to be able to be there.
This time, the little ones went to Maria’s, the big ones next door. I appreciate
Aleksi’s attitude although I offered again to go on my own – it is hard to arrange for childcare since no one is willing to take on four little ones. I want
to come, I want to be with you, I want to learn to love the child now, he says
and I feel a summer breeze blow against my cheek.
We are just like the others – we get no long lingering looks from anyone.
They look at us and at this pregnancy kindly, without fleeting calculations in
their eyes. They cannot see from us that we are already parents of a large
family. We barely register their glances, for we are alone together and stroke
each other’s backs.
I am wary of the cold instrument that draws thick, shiny stripes on my
stomach, I am not able to think of the tiny human creature or to listen to
the nurse’s words. Aleksi can tell me when this is all over. We will drink tea
and eat raspberry tarts and take our time to look at the grey and white creature with a large head inside the black triangle of my womb, just as we have
done before. We will go for a short walk in the woods close to the hospital.
Aleksi will draw me close with his arm, like a sheltering tree, and we will converse softly. We are faced with challenges but we will survive. There are more
wasteful ways of spending your life than bringing up your children.
I’ll just get the doctor to have a look, the nurse says. I am struck by the
words. I have heard them once before. They mean that the baby is dead.
Then I will have to swallow pills to trigger off labour pains in my body and
give birth to a beginning of a baby with match stick limbs. It will be born
into a metal container so that it can be buried and the midwife can say she is
sorry and the Minister can promise a reunion in heaven. Only this time the
pregnancy is at such an early stage that pills may be enough. I won’t have to
give birth to it, surely not, I moan to Aleksi. He strokes my hair with his large
hand. Don’t worry yet, he replies. Perhaps it’s better this way when we’ve already got so many little ones. Guilt washes over me like a cascade. Did the
child die because I did not love it enough? Did it sense that it was not worth
being born to this mother? Was it God’s punishment?
Aleksi’s clammy hand trembles in my hand and his dark eyes stare at the
monitor, round and earnest. His other hand fidgets with his fringe. He looks
like a rebellious artist the way his hair sticks up. The show must go one. His
parting, plastered to one side, makes him look like a preacher. Dear sisters
and brothers, you can rest secure in your belief. When did he get creases in
the corners of his eyes? Why is the skin so dark round his eyes? When did
his neck assume a hint of middle-aged sturdiness? Have his ears begun to
grow a fraction of a millimetre each year? When did his chest become so robust? Where did the instrument of his five ribs vanish; I used to strum it on
long, darkening nights to create soft, yearning songs that I will always miss.
Does he regret our vanished dreams and lost time? As young lovers, we
sat in cafes for hours on end talking about books we had each read for the
benefit of the other. He was Raskolnikov, I was Sonia. He was Jacob, I was
Wanda. He was Werther, I was Lotte. When the sun set, we wandered, united
as a four-legged and two-headed creature, along the seashore with his hand
heavy on my narrow waist. We drank blackcurrant tea in his bedsit, ate pickled gherkin sandwiches and listened to Chopin’s Nocturnes and Rachmaninov’s Second Piano Concert. We were captivated by poems that were about
us. Hear my soul speak: the very instant that I saw you, did my heart fly to
your service. For Mercy has a human heart, Pity a human face, and Love, the
human form divine. The pain of parting and the joy of anticipation coloured
the railway station. Your arms, it felt so cold to leave them. Your arms I could
melt into again.
Congratulations. There are two babies. One was playing hide and seek
and didn’t move for a bit, but now we’ve got a proper picture of them both
and both boys are fine. They ‘re brothers, not identical twins.
Aleksi is white-faced. Aleksi’s brow is furrowed. Aleksi sways. Don’t fall flat
on your face, you dimwit. I pull my panties on, one foot through one hole,
the other through the other opening. Why did I not put on the shiny, black,
lace-edged knickers in the morning; they would have been more beautiful
than a devout woman’s white cotton ones. I pull on my tights. First, I must
remember to gather up the leg and insert the toes and not tug at them any
old way, otherwise the Ultra Satin Tights will tear. Why do the tights have to
be called ‘ultra’ something? I am about to leave the room in my ultra tights
when Aleksi grabs my arm and points at a chair. My trousers are on it, oh-oh,
how did they get to be there, seams straight, legs neatly crossed.
The doctor asks us to come back to the desk. I feel like laughing. I cover
my mouth with my hands but still giggle and it does not stop, I begin to shake.
I was just thinking of the ultra tights. I chortle at the doctor but he does not
get the joke – a simple man. I wonder if life has made him bitter already
or is he just being self-important. And Aleksi, too, has become an old sourpuss. That’s your pictures, says the long-faced doctor and I feel like tickling
him under the chin to find out if his facial muscles are frozen. The pictures
IN DIVIDUAL AN D COLLECTIV E C HOIC ES IN SIDE AN D OUTSIDE OF TH E E N L ARG E D EU ROPE
make me want to laugh even more. My tummy is choc-a-bloc! Do they knock
their heads together? It looks as if one were kicking the other one’s bum!
I’m sure you realise this pregnancy requires closer monitoring – pearls of
wisdom from the old killjoy – and if you need advice you can get it through
the clinic. We’ll manage, I respond, laughing. We’ve got a lot of experience;
we’ve brought up four little ones at home, fully breast-fed, lots of love, clear
boundaries, healthy and sturdy citizens each one. After all, family’s the basic
cell of society and its grassroots. Aleksi nods silently and leads me out. Have
I forgotten I’ve hurt my leg? To make sure, I start dragging my left foot. Or
maybe it was the right one.
I want two raspberry tarts and two cups of tea! I am laughing so hard
I have to stop to cough. What a trick God had up his sleeve! He is a funnier
man than I had thought. How can we have two boys? My cackling echoes in
the corridor like a preacher’s words at an outdoor assembly.
We’ll give the tarts a miss. Aleksi finally manages to open his mouth.
We won’t, we’ll go and I’ll have two.
Come on, let’s go to the car.
Killjoy!
I am tired.
What sort of a man fails to offer tarts to his brave wife to celebrate a wonderful pregnancy.
It is a tired man.
If you are strong enough to sow, you will have to gather the corn,
chauvinist!
Yes, you do but I don’t feel like a tart right now. And I’m not a chauvinist.
Antti Sillanpää bought a diamond ring for his wife, though they were expecting their thirteenth.
That was Antti. I am what I am. You’ll get a ring another time if it’s that
important.
Ah, don’t you want any more children.
It’s too big a question for us to think about right now.
Has your wife become so repugnant when she’s with child that you don’t
want to been seen with her in public places?
No, you’ll always be beautiful in my eyes.
Will you leave me, will you go like Pentti Korhonen, whose head was done
in by a growing family and whose head could only come up with one solution:
to leave, though he could have mail order rubbers without anyone noticing?
I won’t leave, I won’t go but we’re taking the car home right now.
Chapter 33
When I enter the kitchen, I collide with something wooden and clanking.
I switch the light on. In the middle of the floor there are two white cradles.
They smell of fresh wood and paint. Their curved ends feature heart-shaped
holes.
Aleksi went to work before I woke up. He has been going to a devout
men’s carpentry circle that meets in the workshop of the local school every
Monday and stayed till late. I did not know Aleksi has become a cradle maker.
If his equilibrium is disturbed at times, it does not take him long to regroup.
I look at the cradles, which are more beautiful than any I have seen before. They are the kind I have wished for since Kaisla’s birth. The kind of cradle that is sturdy and has high sides and does not rock too violently. An old
cradle song: ‘Lullaby, and good night, in the skies stars are bright. May the
moon’s silvery beams, bring you sweet dreams.’ Only, I wanted one cradle.
Looking at two makes me dizzy. Looking at two makes me feel faint. I take
two painkillersand two spoonfuls of cod liver oil. I swallow a fizzy vitamin C
drink and eat a probiotic yoghurt, but I still have to go and throw up though
the time for pregnancy-related sickness should be over.
I can already hear the shrill, panicky crying of two babies from the kitchen. Two gaping, crying mouths gasp for oxygen side by side on their white,
lacy pillows Two pairs of outstretched arms are asking to be picked up at
the same time and carried against my shoulder. It is hard for me to prepare
breakfast for the other children in that din. I throw a bag of rye bread and
a jug of juice on the table. Only bread and juice today. Mum has no time to
make porridge now. Help yourselves to ham and cheese from the fridge. Lumikukka, take small bites so they don’t get stuck in your throat.
I have to remove the cradles. Nice, thank you, I will say to Aleksi but I put
them away to wait. The babies roar angrily as I carry the cradles to the attic.
They kick against the sides with their thin frog’s legs and thump the pillows
with their small fists. Anxious, I throw a pile of old rugs over the cradles.
I add a tarpaulin, a broken kitchen stool and two fishing rods. They go quiet.
At first they hiccough, like children who have been crying too long on their
own, with long trembling sobs that rack the whole body. Then they are silent.
Did they die, suffocate? Did I kill them, did I murder them?
I cannot hear a sound. I sit down by a plastic Christmas tree and cry. Dear
God. Save me and help me. Let me have peace.
When I raise my head, I see that the star at the top of the tree has collapsed and the bottom point is broken. Unlit electric candles dangle from
the branches. I hear the children’s alarmed voices from downstairs. God has
ceased hearing my prayers. A God with ear protectors, a Heavenly Father
with ear plugs. He helps those who are not excessively desperate.
What can I do about myself? Is there nothing! Beaten, I look around.
The attic is crammed with rubbish. It contains the worldly goods of many
late relatives, a mountain of refuse bags filled with clothes and shoes, odd
pieces of furniture and gardening tools, a greenhouse with a collapsed supporting bar, a perfect volley ball net with no stands, thick fur hats that resemble predatory cats or foxes in the dark, croquet mallets, tennis racquets, badminton racquets and ping pong bats. A big family with lots of children needs
all sorts of equipment.
I glimpse a suitcase in the furthest corner, half-hidden by a colourful hammock. A suitcase!
The case is old, battered and made of brown leather; in addition to a zip,
it is equipped with belt-like straps. I discovered it on the flea market while a
student. It was supposed to accompany me to Novgorod and Venice, Rio de
Janeiro and Reykjavik; it was supposed to show me the Great Wall of China,
the pyramids of Kheops, Notre-Dame and Duomo di Milano, but I did not
have time to use it once before it contained nappies, a dummy chain and a
nursing bra.
I carry the suitcase, hidden by the hammock, into the walk-in closet. (…)
TRANSLATED BY FLEUR JEREMIAH
(extracts in sample translation from the novel by the courtesy
of the publishing house Gummerus, Helsinki)
55
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JØRGEN LORENTZEN
Ibsen and Fatherhood
56
Fatherhood and issues related to it occupy a central position throughout Henrik Ibsen’s dramatic works. In his historical and romantic dramas,
and not least in his contemporary dramas, Ibsen
writes about fathers, the role of fathers in relation
to their own children, and about how adult men
are impacted by their relationship to their fathers.
I can hardly think of a motif in Ibsen’s works
which is more recurrent than that of fatherhood.
Yet, fathers are not what we have been led to
associate with Ibsen’s dramas. Rather, most of us
associate his plays with women fighting for the
right to a life of freedom, or heroic men embroiled
in great moral battles over truth, freedom, power
– confronting hypocrisy and the double standards
of bourgeois morality. The reason for this is rather obvious. Ibsen’s dramas do not deal explicitly with fatherhood. It is not the relationship between fathers and their children that drives the
dramatic plot. Instead, this relationship remains
on the peripheries of the central action, or significantly underpins the action and relationships
between characters that unfold on stage. Fatherhood is pervasive, yet remains discretely in the
background. This, of course, makes it all the more
intriguing to study. What is it that leads Ibsen to
dramatize the relationship between father and
child so consistently, without ever fully developing it as a theme? What part does the issue of fatherhood play in Ibsen’s discourse on truth, freedom and other issues under debate? How and to
what degree does he allow fatherhood to play a
role in his dramatic works, and how is this played
out in relation to motherhood, family and masculinity, both within his texts and beyond?
[…] Ghosts and The Wild Duck are Ibsen’s
most clearly family-oriented plays. The Wild Duck
was uniquely subtitled by Ibsen as “A Domestic
Tragedy in Three Acts”, and in a frequently quoted
note about its theme he wrote: “Gregers’ experience of a child’s first and deepest pains. They are
not sorrows over love; no, they are family pain –
agonizing home circumstances – ”. In a letter to
publisher Fredrik Hegel when The Wild Duck was
close to completion, Ibsen returned to this topic:
“This play does not concern itself with political or
social questions or with public matters in general.
The action takes place entirely in the area of family life”. Quite simply, Ibsen wanted to explore
the dramatic workings of the family in both these
plays, and this included the relationship between
mother, father and child - not merely the relationship between a woman and a man, or between
one adult and another. The children occupy a deliberate and central place in both plays; the focus
here is on how children are damaged within the
drama of bourgeois family.
However, many critics have taken Ibsen’s use
of the term “family” at face value. It is not so much
the family as a whole that is reflected in these two
plays, but rather fathers and fatherhood in particular. In these two plays the word “father” appears far more frequently than in any of Ibsen’s
other works, – in both plays the role of the father the central theme. The protagonist on stage
in Ghosts is, without a doubt, the mother, yet it is
her relationship to society’s father figures that lie
at the heart of her despair and ultimate self-knowledge. To view this play merely as a family drama
can obscure the fact that fatherhood is the subject
under scrutiny in both these plays.
In some respects, Ghosts is a precursor to The
Wild Duck. These plays are closely linked not
only because they are Ibsen’s two most explicitly
family-oriented dramas, but also because Ghosts
establishes the ideas about fatherhood which will
be explored in The Wild Duck. Ghosts represent
Ibsen’s first direct critique of the patriarchal family. Brand (1866), Pillars of Society and A Doll’s
House problematize the father’s role. Brand sacrifices his son, Alf, out of romantic idealism, while
Bernick in Pillars of Society is willing to sacrifice
his son, Olaf, for his own personal and financial interests. But in both plays the possibility is
left open for these men to make restitution. In
A Doll’s House the father and mother have built
a patriarchal home around their children, largely
based on illusions, but when Nora has finally had
enough and leaves, the father is left with both children - an ending which opens up the possibilities
for a new and different kind of fatherhood.
[…] The problematization of fatherhood is
taken even further a few years later in The Wild
Duck, and it is this work I will now focus on. The
question of who the protagonist actually is in The
Wild Duck is a widely discussed issue. The play
does not have one clear protagonist, as is the
case in many of Ibsen’s works. Which of the characters here, after all, possesses a sufficiently tragic
dimension to emerge as the central gestalt in the
work? Gregers Werle or Hjalmar Ekdal? Or perhaps Hedvig? The title of the play certainly makes
us immediately think of Hedvig. But there is not
just one wild duck in this drama; there are many,
as we will see. Thus the play is difficult to interpret on the basis of the traditional theory of tragic
drama, which generally takes the tragic hero’s role
as its point of departure.
In The Wild Duck the focus is not on any one
individual, but on relationships between people
and the consequences thereof. It is the familial
relationships, and “family pains,” that are in focus
here, and more precisely, the family represented through the father-child relationship. In the
The Wild Duck we meet three father figures in
three father-child relationships: Werle-Gregers,
Ekdal-Hjalmar, and Hjalmar-Hedvig. As the drama
unfolds Ibsen shows us three types of fatherhood
through these three different relationships. I will
term these three forms as the patriarchal father,
the fallen father, and the loving, but helpless father. These three distinct forms of fatherhood
would have been recognized in Ibsen’s time. Yet
central to Ibsen’s approach in his plays, is the fact
that he weaves these father roles into one another;
he does not divide them as three discrete forms
of fatherhood, but instead demonstrates how they
are interconnected through relationships, dissolutions and continuity/discontinuity. Additionally,
The Wild Duck shows the impact that these various father roles can have on the next generation.
Almost novel-like in its scope, we can see, in this
tightly constructed play, the close connections between the lives of three generations…
(extract from the book)
INNOCENCE FOUNDATION
LORENTZEN,
Jørgen
A history of
fatherhood in
Norway:
1850–2012
Macmillan, 2013
IN DIVIDUAL AN D COLLECTIV E C HOIC ES IN SIDE AN D OUTSIDE OF TH E E N L ARG E D EU ROPE
MARIA A . IOAN N O U
One morning, his wife would wake up. She would wash her teeth, put on
her make up, get the kids ready for school, lick one tooth to remove red lipstick. She would chew a toast really fast and smell her skin to feel that asshole‘s after-shave on her body.
Then, she would smile, she would remember the suitcase on the right pillow of the bed and she would run, she would run to get it in order to reach
school on time: 7:30 sharp.
This time the suitcase would not be there. The fabric would be torn on
its lower part.
The crazy neighbor would talk about a suitcase with feet he saw running
with great noise at midnight.
Yet, nobody would believe him.
And the suitcase would continue to puff...
Cellophane
DAD AND I chat away at night; he wrapped in cellophane.
When mum goes to bed I open the closet in the guestroom. I show him my
new toys, the big remote control tractor and my teddy bear – and he fogs up the
cellophane with his breath, grooving hearts for me with his nose. I try to come
closer and kiss him in the Eskimo way, but I can’t reach, and before too long the
sketches on the cellophane will fade, there’s no room for more. He stands there
still, like Tutankhamun’s mummy enclosed in wood. This reminds me of the
boxes that keep the dead locked in. “The living can’t stand the dead”, grandma
used to say. The living are afraid of the dead, that’s why they shut them in a box,
to keep them from waking up and seeking revenge like vampires do! My words.
… / Mum keeps to herself / I burnt a hole in the carpet with your lighter/
Sorry dad / Aren’t you hot in there? / Why don’t you speak? / Can you wrap me
with you in this cellophane from the DIY store? / I love you dad / Today mum
told me to shut up! / Yes. I’ll be good / Yes. I promise!/ Leave me alone! she said/
Me too, dad… / Are you hungry? There’s chicken if you want / Goodnight… /
Will you talk more tomorrow? / I don’t have any friends! Do you? / …
I spend several hours in the closet with him. I stroke his cellophane. He
can feel it when I touch him, I’m sure he can. I can see the droplets on the
cellophane. It’s probably his sweat of joy. If it wasn’t for me, he’d be bored in
the dark. He tells me he can still hear the tires squealing.
Eeeeeeeeeeeeeeeeeeeeeek
But I mustn’t talk about that.
I want to tell mum that dad didn’t go away, that she must stop crying at night
and yelling at me because dad is still here, with us, and I talk to him and ask him
things and he answers. I want so much to tell her how he told me that there
are billions of stars in the sky and that I can even be an astronaut if I want to (it
doesn’t matter that I’m nearsighted) and that I should never listen to anyone else
because if I do I will only become what they want me to, and that the word “gay”
means many things and the dictionary says, if I read it closely, that the word is
used: “(with a positive connotation) for someone who is happily excited”. I also
want to tell her that my having discovered dad wrapped up in cellophane in the
closet makes me “happily excited” because if it hadn’t been for me he would have
died of hunger, thirst, loneliness, moth and thousands of other microorganisms.
Last night, dad and I chatted away for hours on end. I asked if he wanted me to take the cellophane off him so that he could move. He kept quiet.
This morning I found dad outside, thrown out in the large container that
had SKIP written on it. He was still wrapped in cellophane, one arm sticking out.
I screamed “Aaaaaaaaaaaaaaaaaah” and started to cry aloud.
Mum yanked me back into the house.
“It’s just a suit, god damn it! A suit…” she said and shut herself in the toilet.
TRANSLATED BY DESPINA PIRKETTI
Man in the Suitcase
Her palm, the fingers, the nails and the joints remained snatched on the handle, almost embalmed.
It was decorated with golden details on the edges. She had bought it from
an outlet store in America, at a time when spending half her salary on shopping
was a matter of survival for a girl her age. She had been dragging it for years.
The gold on the handle was no longer glossy. Her nipples shrunk and lost their
beauty. Her breasts hung like withered branches, with the leaves and all.
A suitcase of 168 centimeters with two wheels and a partition.
Sometimes, it kicked and released weird half-heard sounds as if it hid a
person inside: “Op...gr...bor...fu...of...co...shu...assho...fff”
Yet, people don‘t live in suitcases. And suitcases never burst into tears,
some dark and colorless nights.
Her husband – married almost twenty five years – remained dangerously
embedded in there. His body diminished day by day. He was given no food,
no warmth. From time to time, he pushed the fabric, using both arms and
legs, changing its shape. He opened two or three holes with the flame of his
cigarette to breathe and therefore, the traveling suitcase puffed smoke, like
a chimney.
His wife never smelled his cigarette smoke or the piss that flowed out of
that suitcase. His violent beating, his suppressed yelling, his persistent and
painful efforts to escape remained unnoticed.
“Op...gr...bo...ts...hun...thir...hi...shu...assho...cca...a...”
So he stopped. “.......................s..................k............ff”
Along with the poison he swallowed all words.
There were times when he felt nauseous, while she dragged him here
and there, on the rough streets, in the washed car, on the fast treadmill of
the gym, in the cart of a department store. But he never complained. He just
took an embryo‘s position, sucking everything in, waiting to be reborn, humming an old lullaby song.
His wife continued to carry him with her freshly-done nails to luxurious
spa resorts, furniture exhibitions, cottages and retreats, even in secret hotel
rooms. There, he had heard it all and sickened. Her complaints. Not to mention her admiration for a man half her age. That asshole‘s flattering words,
her sighing and moaning. He lost his temper but the suitcase was carefully
sealed. It silenced all screams. That suitcase was now his home.
He no longer sobbed. He bit his lips though. Hard. Until they bled. A red
stain mysteriously appeared on the fabric. The next morning, his wife would
rub it with sponges and detergents, but the stain wouldn‘t go away. His wife
would feel guilty and she would suffer.
“I bet he can‘t get an erection!”, he would hear his secretary say to a new
colleague, while rhythmically chewing her gum. Then they would both laugh.
Really loudly. In his spacious office, on his leather chair, making fun of his
collection (who collects ship miniatures anyway?), sticking the gum under a
picture on the wall and opening his private drawers one by one.
It would be noon and the suitcase would still be attached to his wife‘s left
hand. She would devour her goat‘s cheese salad and the kids would have
pasta again, with vegetarian white sauce. He would starve but he would suppress any possible feeling. He would be exhausted and there would be no
more strength to kick or push.
At nights, everything would change. He would no longer bear the silence, the
darkness, the claustrophobic smell of plastic. He would punch, yell, burn the suitcase with his rage, he would melt it. The suitcase would get more and more flexible, with a thinner and more fragile surface and he would gain more space.
His wife would snore and a dog from outside would just bark at a stranger.
TRANSLATED BY THE AUTHOR
The Gigantic Fall of an Eyelash
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PAT RYC J A P U S T K O W I A K
Night Animals
ingredients were missing, there was nothing, the only thing she could make
was vodka soup, but she wasn’t in the mood for that kind just then.
How lucky it was that she lived in a big city, not only that but a capital city,
in capital cities you can find everything, including rich gastronomical offerings, which would be a sin not to make use of. It only takes one phone call
and an hour later the Thai soup of her dreams lands in her home, covering
a distance of a dozen or so serpentine, tangled-up streets covered in a thin
layer of dust, along which slide the shoes of random passersby, dogs’ paws
and everything that sticks to them, from dust to microorganisms.
With a bowl of soup balanced on her knees, she turned the TV on. She got
sucked into an American program devoted to the problem of the decay of the
human body after death. Tamara slipped into her mouth a spoonful of tasty
Thai soup while the program’s host presented to the camera a human head
in various stages of posthumous decomposition; first it’s completely normal,
next worms appear on it, in fact not only one kind, but several different kinds,
judging from their colours, and in the end the flesh disappears and only
clean, white bone remains, the kind you can see in horror films or Hamlet.
Next came a section of the program devoted to getting rid of what had
so little luck in life as to actually die – well, it happens to everyone. It was
possible, for example, to bury such a thing in a coffin, prices range between
X and Y, you don’t have to wait long to receive your order, wood of the finest
quality, satisfaction guaranteed. Those who don’t like the company of underground worms or find the processes of putrefaction unpleasant can decide
otherwise – better during one’s lifetime, later it could be too late. These days
cremation is carried out in a cremation oven with at least two chambers, the
construction of which allows the next of kin to directly observe the corpse
being placed into the oven, which among some may arouse unpleasant associations; time to free oneself from the sticky tentacles of one’s memory and
choose a road towards progress. The oven can be fuelled by oil or gas, the
burning process is supervised by a computer, so it is completely automatic.
After burning, the ashes are crumbled in a separate machine into a fine powder before they’re put into an urn. And later the urn is given to you to take
home, the whole thing doesn’t cost much, it’s time to consider this nice alternative to a traditional funeral – the world is helpful and wags its tail at us,
often bringing good new ideas to us in its muzzle.
TRANSLATED BY SCOTIA GILROY
(with the support of the Polish Book Institute)
STANO MASAR: AFTER KOSUTH
58
The deeper Tamara sank into the greasy, black paste of her own thoughts,
the more she became disgusted by herself and by her own body. Her genitals – a dark, wet tunnel leading nowhere, giving a secret thrill to those who
buy a ticket – were like a haunted house at an amusement park. When she
was young she was told that one should refrain from having sex because it
wasn’t very Catholic, and later the exact opposite: Take and eat, all of you, of
this body in which she was enclothed. It was sex that was now fashionable,
a new religion that would lead her to a shrine of the greatest raptures. This
festival of contradictory voices caused her to transform from a normal person bound in skin and worldview into a patient spread out on the operating
table of an experimental doctor, tangled up in a million incongruous cables
through which liquids were seeping into her, cancelling out each other’s effects. She was ill, her blood was full of poison, all that she was able to utter
was some kind of logarithm of despair and a soundless plea for help which
– owing to the low content of the spoken word in silence – nobody was able
to decipher. Sometimes it seemed to her that at night she was glowing with
pain. Her skin sent a message, creating letters with the blue neon glow of her
veins. But there was emptiness all around her, and the room only flashed
momentarily with an unpleasant, bluish light – like in an Intensive Care Unit
or a hospice. Oh, abandon all hope, ye who…
Resigning from sex was, therefore, some kind of liberation. But although
she had won this battle against her body, there was another she wasn’t able to
win – against hunger. Her body demanded nourishment, and she – no matter how exhausted or hungover she was (unless it was a starvation hangover,
during which one has no desire to eat) – had to feed it, her body was her
unborn child making her life difficult. And once again: her body dealt her a
rough blow, demanding a meal. Meanwhile, in Tamara’s refrigerator the light
and two bottles of vodka reigned supreme. She must have bought the bottles
of vodka on the way home, since they hadn’t been there the day before. Anyway, apparently it was possible to do light therapy to cure depression, Tamara had read about it in some New Age magazine – though she didn’t really
know how it was done.
She tried it the easiest way – standing by the refrigerator, she opened up
her mouth, that casement window through which her unwanted life could
slowly begin to leak out, and waited until the light seeped into her and filled
her up completely. When she thought about this, she had reflections of a religious nature – to fill oneself with light, isn’t this synonymous with becoming
one with God? God is eternal light, God is love – she had heard similar stories during years of attending catechism classes, God is everything that isn’t
there – she could add, many years later. But this God residing temporarily
in the refrigerator did not want to enter her at all, did not want to descend
from the white, slightly scratched-up shelves, and besides it’s cold – luminosity was supposed to dazzle and give warmth, but this one here mocked all
efforts to convert, it didn’t want to enter the body, it only treated it to wellknown chill and humiliation.
Vodka has definitely treated me to much nicer things, thought Tamara,
looking at the bottle of golden-red liquid that was standing politely in the
corner of the fridge. But for a moment she couldn’t allow herself some of that
friendship, even total drunkards, like her, sometimes have to take a break
and eat something. A hangover-hunger had just grabbed her, a hunger of the
worst kind, when one craves spicy soup. In her mind’s eye she saw a steaming
Thai dish, an ideal mix of sweet, sour and hot spices. A bit of saliva dripped
onto her parched tongue, but what to do? If only she had a broth cube and
one of those rafaello sweets that were buried under the sofa, she could prepare some Thai soup for herself of her own creation. As if to spite her, these
IN DIVIDUAL AN D COLLECTIV E C HOIC ES IN SIDE AN D OUTSIDE OF TH E E N L ARG E D EU ROPE
YA E L P I E R E N
STANO MASAR: GALLERY
Stork bite
One
It lies next to the only book, which I could bring myself to purchase; alMy flat measures twenty-two metres square. I have taken its precise measure- most three-hundred pages full of wrongly drawn maps, errors about the face
ments on the day the keys were handed over, even before starting to furnish of the world, now exposed to ridicule by our modern technology. Turning
the space. I stacked my few boxes, small, neat and carefully labelled, outside the pages, I imagine the fear of falling off the edge of the earth, or the pride
the door. I stood about in the empty room for a long time, looking at the of inhabiting a clearly overwhelming spot of land, now stuck forlornly underbright spots on the wall where pictures used to hang and following the fine neath a continent on today’s maps.
cracks in the ceiling. I did not feel any hurry to fill this empty room. I felt well
It is one of the few books altogether in my flat. When I arrived here, I thought
at ease with the idea that the former residents had left their traces.
of taking them with me when they are on display in the street, and of stacking
It is a little larger than the landlord has granted me according to the con- them alongside the wall, but now I somehow do not want to keep a single one of
tract. That is why I have overlooked the fact that the tap at the sink cannot be them, once I have read it. I put them back where I found them, or I push them inclosed properly. For a few days, it was just about all right, by now, its a long discriminately and without a note into strange letterboxes. Under my bed remains
time since I have heard any drip at all.
only, what was swept underneath while cleaning and then forgotten.
There is a little table with two chairs by the window facing the street, at
Sometimes I think that I am living very much in accordance with our
which I have a cup of coffee in the mornings. The bed with the white linen, human nature in this small flat and in the space and time surrounding it. Also
directly underneath the sloping ceiling, was handed on to me by the woman living in accordance with the nature of our society, today. I take things with
next door. Cutlery, plates, cups, pots, light bulbs, bed table, clothes rack, me, I am given them, I use them and I put them down again.
leather shoes – all are either gifts or on loan.
There is hardly anything I feel attached to. Of course, I am proud of my
I would like to have every item replaced with one of my own specific little round table and its two chairs, but then again, it would not bother me if
choice in the foreseeable future. An old beer glass serves for this purpose on they went broken. I love wearing my coat and turning up the collar, it seems
the kitchen counter; I put my redundant small change in there. The glass is a to me as if I was walking much more upright in it than otherwise; the way
gift, too. So far, it contains very few coins. I find unlocked bikes everywhere it swishes around my legs allows me to ignore the cold easily. Nevertheless,
and I take them into my possession for a short time before returning them I do not believe that I would be sad, if the seam would tear or if someone just
to the same place. This way, I believe, it is not a theft.
took it away. That is how it is: things do not mean much to me. They are like
I have brought my slippers, my identity card and a few of my dresses. I am food, which I ingest, digest and secrete again. The mechanism of wear and
badly prepared for winter. My only coat is not really warm, rather beautiful, with tear is a necessary evil, if one wants to live. I cannot remember ever having
a gigantic collar playing around the shoulders, no hood, the sleeves reaching just felt an aversion to this fact. I have always liked living.
about down to the wrists. I own neither gloves nor a scarf, nor warm socks, and I
Asked about my belongings, I will elaborate, explaining that I own a lot.
have never belonged to those girls who slip on thick jumpers because of the cold. Perhaps, because there is actually very little and because I know all of it down
A comb lies on the washbasin next to the shower, which I use to disentan- to the smallest detail. However, it is also possible that I have become used to
gle my hair after getting up. I wash them with the same liquid soap I use for simply taking things for myself, assuming in moments of arrogance that alcleaning my clothes. The simplicity of my everyday life pleases me. Some- most anything could belong to me anyway, if I only wanted it.
times, when no attentive eye is following me, I will wear jumpers, shirts,
My most precious possession would be my snow globe.It really is. Turning
trousers and dresses for such a long time that I could stand them upright in it, I imagine my brother, needle-sharp in outline and very alive.I would not
a corner. I then put them into a paper sack, carry them down the road to the even need it for that purpose, I have a fabulous memory, it would probably
launderette and spend the afternoon watching them spinning around in the not even require a particular effort to simply call him to mind; but it is a ritudrum. There are seven of them. Two black jumpers, a white shirt, a pair of al, I would not have it any other way. He is only supposed to be back again
jeans, two summer-dresses, a blue one and a red one, and my coat. My under- in this snow globe for a brief moment, no matter how often I turn it during
wear, of course. Perhaps even my hat will be included in the count.
the day. He is not supposed to haunt about. I do not want to live with ghosts.
The snow globe on the windowsill is also a present, the only thing I do not
TRANSLATED BY TRUDE STEGMANN
want to replace. My brother took it for me as a little boy. Strictly speaking, he
nicked it, in a toyshop. I was troubled by a bad conscience for years after finding out, absolutely wanting to return it. I infected my brother with the great
compassion for the elderly shop owner. She never had any customers. She always sat behind the counter goggling out of the window through thick, dirty
cobwebs. In my childish dreams, the critters were her only companions; she
talked to them and chose her lunch from the surplus of miserably perished
insects. We went up and down in front of her window a few times, without
ever entering the shop. He did not dare and I did not want to hand over my
snow globe. Then, the owner died. A small label at the door communicated
her unexpected demise, I remember it well. She died amidst her wooden
building blocks, cards, board games, cuddly toys and dolls, just like that, in a
single moment. Everything remained in its place for a long time, dust raging
around the untouched pieces. It took almost a whole year until the shop was
cleared. They drew up with a lorry and disposed the toys in large black sacks.
Ever since, I have seen this present as my rightful possession.
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H I DA S J U D I T
Hotel Havanna
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Diet Forte
“Good Lord, your belly is pretty big ,” the man says as he watches his wife
from the sofa. The woman is sitting on a high stool, eating dinner with the
kids. She tries tucking in her belly, tries to sit up straight, but the stool is
too uncomfortable, it’s murder on her back. She had no idea that her husband also thinks she’s fat. When she’d complain about it, he’d always calm
her down. “I like you just the way you are,” he’d say, and kiss her forehead.
“Why is it so hard to understand,” the woman says, her mouth full. “I’ve
got plenty of other things to worry about. I work from morning to night for
the rest of you. Have you any idea what my day is like? There’s kindergarten,
and also school, half an hour there, half an hour back, twice a day. And then
there’s the house to look after, the cleaning, paying bills, taking care of official business. (…) Whose got time worrying about her stomach?”
The woman gets up from the counter. She’s hoping she’ll look slimmer
standing up. She puts the food back in the icebox. The exchange she’s just
had with her husband has taken away her appetite, anyway. “I barely eat anything any more,” she says, more to herself than to her husband. “I just nibble
on what the children leave on their plate.” Her husband is still watching her
from the sofa in the kitchen, seeing her from below. From there, her thighs
and buttocks are looking huge, too. I don’t know why she’s so upset, he’s
thinking to himself. She’s the one that keeps asking. And lately, she’s looking
old, too. She’s grown a double chin and she’s got bags under her eyes. But he
wouldn’t dare telling her that, it was a huge mistake being honest just now.
“Go and say good night to dad,” the woman says before she bundles the
kids off to bed. She’s feeling proud of herself for having remembered her husband like this after such a hurtful remark. She’s thinking that if they should
ever get a divorce, she wouldn’t be like most other women, who turn the kids
against their father.
In bed, she reads Snow White to her daughter. Her mind is not focused,
though, and her voice seems to come from a distance. She can feel her insides move, she’s bothered by her love handles resting on each other, and the
sweat that settles between them. Starting tomorrow, it’s time for a strict diet
and exercise, she’s thinking. “In Auchan the other day I saw a Réka Rubint
fitness DVD on sale. Next time I go shopping, I’ll pick one up.
In the morning, she asks her husband for twenty thousand forints. “Again?”
he asks, whereupon she takes offense. “Why? Do you think I spend it on myself? I do nothing but economize,” she counters. “Besides, I’m fed up with
having to account for every fillér.” Her husband suddenly feels ashamed and
hands her the twenty thousand. But in the car he’s thinking that it’s just not
right the way it is. He keeps telling his wife that it’s time she went looking
for work, but she brings up the children. He can veritably hear what follows
every time. What would become of them, they’d be left to their own devices,
it would be detrimental, they’d turn out just like the others, because that’s
why the country is in the state it’s in, that’s why everybody walks all over
everybody else. It’s what they learn as children, and that’s why she can’t go
looking for a job. She’s not about to her own children end up like that.
What’s there to say? the man is thinking. He doesn’t want them to turn
out like that either. On the other hand, it’s high time he reduced his pace.
He’s over forty-five, but he hasn’t got a single quiet weekend, he’s often got
to work even then. Month after month, he sweats blood to make ends meet.
There’s the private school, bills to pay, new clothes for the kids, the installments on the car. It’s too much to ask of a safety technician!
The children, at least, will learn the meaning of sacrifice, he told his wife
the other day, but she just shrugged. She doesn’t care. There’s no talking to
her. There never was.
In the coming weeks the woman tries her best to lose weight. She won’t eat
after six, and even during the day, only vegetables and meat. She takes wheat
grass pills to cut down her appetite. She schedules a couple of mornings when
she exercises. It takes quite an effort, she hasn’t exercised in years, but she does
her best. A week later she gets up on the scales. Eighty-five kilos. The same as
before. “No matter,” she says, “it takes time.” Two more weeks go by. The woman
feels much lighter. Her belly looks less flabby, too, and her clothes seem looser
on her. Eighty-four and a half kilos. “That’s impossible,” she fumes, “I was expecting two or three kilos at the very least.” She’s less enthusiastic, but holds out for
another two weeks. The scales go up to eighty-five kilos again. The woman fights
back her tears. She can’t stand it any more and takes out a bar of chocolate she’d
brought the previous day to reward herself for having lost weight.
She feels like flinging the scales out the window and cutting off her protruding belly. Yes, she should cut it off with a big butcher’s knife, she thinks. All she
hears is “I’m tired, I’m tired,” and her husband is off to bed before she can finish with the housework. Or else, she waits in vain for her husband to come into
the bedroom. I’m lucky if we sleep together once a month, and usually, I have
to take the initiative even then, she thinks. What am I to do now? How will I
lose weight? Maybe I should take a knife to my stomach or jump out the fourth
story window, because the extra pounds will never disappear! Then out of the
blue, the solution strikes her. That’s it! Cut it off. Or better yet, suck it out. She
must go to a plastic surgeon! That would do it. The pain is of no consequence.
She sits down at the computer to find out the details of the surgical procedure. There are so many offers, she can hardly chose among them. “Look
twenty years younger! Get rid of cellulitis the easy way!” She can just see herself with a thin waist. Or walking in the park with the kids. She waves to her acquaintances, who whisper behind her back about how fabulous she looks. She
imagines her husband, who is looking at her once again the way he did at one
time. But when she sees how much it will cost, the wind is taken out of her sails.
“No, it won’t work, we’ll never be able to pay for it!” But she keeps looking. Meanwhile, she takes out another bar of chocolate with nuts and begins munching
on it. As the sweet taste spreads in her mouth, her spirits revive.
She tries Google again, and sees something intriguing among the most
popular pages. She clicks on it. A porno film. Whose been looking at it, she
asks herself. My son is far too young. Then suddenly, she stops chewing.
Pieces of nut are still swimming in her mouth, but she forgets to swallow. So
that’s what he does at night! That’s why he won’t sleep with me! He’s probably cheated on me, too, no doubt, except he hasn’t admitted it yet. And why?
Just because I’m slightly overweight?
(…)
At night, she looks at her husband as if he were a stranger. She hates him
for being ungrateful, and for the secret, which is now her secret, too. But she
decides to stand up to him. She’s determined to win the next round. She’s up
to here with all the sacrifice. She must get her hand on the money!
(…)
The next day she visits the website again. She searches through the films
(…) She spots an ad. “Are you at home? Got a web camera? We have the ideal
job for you!” She clicks on the details. They’re looking for women. Age and
figure of no consequence. She makes some calculations. Surely, they must
pay well. Fifteen or twenty times, and she’s sure to have enough money for
the procedure. But then she relents. She’s not fit to stand in front of a camera
any more. They probably would reject her. Besides, that’s no job for a decent
housewife. What would her kids say? Or her mother? They probably would
never talk to her again. But she can’t let such an opportunity slip away. (…)
After all, what’s the big deal? It’s just housework in the buff, she tells herself.
IN DIVIDUAL AN D COLLECTIV E C HOIC ES IN SIDE AN D OUTSIDE OF TH E E N L ARG E D EU ROPE
It’s not like cheating, it’s just a way to earn some money. Then she thinks that
for all she knows, she might even continue doing it once she’s got the money.
She wouldn’t have to beg all the time, like a child.
In the weeks to come, the man notices surprising transformations in his
wife. She seems to have grown more youthful. She holds herself better, her
hair is always combed and neatly tied in the back, there’s a light application
of lipstick and eye shadow on her face, and instead of a sweatshirt and pants,
she’s wearing a blouse and a skirt. He doesn’t see her as fat as before. She
seems to harbor a secret. One night when the man comes home, she and the
kids are already sitting at the counter. The woman turns briefly to greet him,
then her husband sees nothing but the back of her neck with those silken
brown hairs. It’s been ages since I last noticed, he’s thinking. He feels he must
kiss the back of her neck. But the woman averts him, a habit she’s picked up
of late. The man has asked her whether anything is the matter, if he’s done
something wrong, but she just smiles and assures him that everything is fine,
except she’s tired, she’s got so much to do. And so, there’s nothing for it, he
sits down by the computer again. How nice it would be to watch it along with
his wife. But that’s out of the question, the man is thinking, surely, she’d
threaten him with divorce. (…)
TRANSLATED BY JUDITH SOLLOSY
A L I DA B R E M E R
INNOCENCE FOUNDATION
Oliva’s Garden
The taste of olive oil asserted itself in my memory. I knew that the letter regularly, whether pig, veal or lamb, it would always be of the best quality, he
writer was not talking of those pale yellow, thin, virginal oils in tiny, elegant, could also get hold of decent chickens and naturally of fresh eggs, too, he
Italian bottles, but of those vividly green, viscous, slightly bitter oils, reach- would happily assemble a packet respectively for the pilot as well, needless to
ing me in Germany in Fanta or Cola plastic bottles; my father sends them to say that he would meet the pilot’s goodwill with his own. I would just have to
me whenever an opportunity arises, he buys them from the market-women drive the 120 km to the airport and receive his consignments there.
Luckily, I could talk him out of the idea, by mentioning with great regret
in Šibenik or Split, I then decant them into dark green mineral water bottles.
My father has smuggled quite a few goods across EU borders for that matter: my doubts regarding the flexibility of today’s Croatian pilots, a completely
an octopus, for instance, which was taken out of the ice in Dalmatia in the early different breed compared to the good old Yugo-bus drivers, who transport
morning, arriving in Westphalia the next day thawed just on time, because you guest workers back and forth for days.
Quite often, his consignments ended up in the rubbish. The smoked ribs
either have to beat an octopus after the catch against the quay wall for a sufficient amount of time, or – since the beginning of the technical era – you have exuded an unpleasant odour, moths flew up from the flour, it dripped out
to freeze it, in order to get it soft enough for an octopus salad. There was also a of badly closed containers and stank of fish, the mussels showed dark discoleg of smoked ham with very little meat left on it, together with a little pouch of lourations in their sagging yellow flesh, the homemade wine tasted of every
pinto beans, which my father – hardly out of the car – set up for a pašta-fažol, heat wave and all the shaking it had been exposed to in the car boot. Only
a bean-pasta stew, originally known under the Italian name of pasta e fagioli, a the spirits and oils remained unharmed by transport.
fact which would have merely roused my father to indignation, so I have never
Now, there opened up the prospect of an oil production of my own!
brought it to his notice. This dish can only be a success, if one has a ham shank
TRANSLATED BY TRUDE STEGMANN
from the Drniš region for the stock at one’s disposal. The number of hams from
(extract from the novel written with a Grenzgänger-grant
Drniš is now somewhat limited, particularly since Ratko Mladić was given his
of the Robert Bosch Foundation)
general’s rank for certain services in – of all places! – this region, before moving on to Bosnia and Herzegovina; this time, therefore, my father brought along
for me not a whole ham, but merely the bone.
While I was studying in Italy, he once had had a portion of cooked chard
with potato cubes, seasoned with olive oil and a hint of black pepper transported by ferry to Ancona and then on to Rome by train. Upon arrival of the meal in
my Roman room on an April evening, the bearer of this present told me that my
father, confronted with her remark olive oil and chard, let alone potatoes, were
really to be found in Rome as well, had replied dryly: “But not such.”
He transported smoked sausages from Vrlika, fresh, round pieces of
cheese, reminding me of Mozzarella, a remark he dismissed with a disdainful gesture declaring Mozzarella would taste like soap, he sent almonds, walnuts, pears, anchovies, milk-fermented cabbages, indispensable for cooking
sarma, a dish originating undoubtedly in the Turkish dolma – but how can
the foreign origin stand up to our indigenous refinement!
When the news of mad cow disease in Europe had also made it to my town
of birth, my father called, asking worriedly, whether I thought a pilot flying
from Split to Düsseldorf would be prepared – of course for some remuneration, and if he, an old man, asked very politely – to take some thinly cut schnitzels with him to Germany? His brother had just slaughtered a calf, and because
I would become either poisoned, crazy or anaemic in Europe in the long run
anyway, these little schnitzels from a healthy calf could at least save me for the
time being. If the pilot had no objections, he would bring small, suitably packaged portions of meat to him at the airport once a week, but then again, good
calves being rare, so my father, he would surely be able to find something
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Flood
62
This is the end.
Other plants look like garlands as thick as a man’s arm; a jumble of tough
I am standing by the water’s edge, peering at the flat horizon. Next to me spears coiling and twisting into a long khaki sausage. They stretch right
lies the large red kayak, its nose half-submerged in the water. It splashes, hol- across the street, linking houses through front doors, split letterboxes and
broken windows, like a new system of piping, or even a new communicalow-sounding, against the hard, plastic hull.
And it is still raining. It is a gentle rain that leans into me, a rain you tions network. Sometimes they take possession of an entire car. After slipcan actually see slanting in the sky. A dismal curtain, prey to a listless wind. ping through a door they fill it to bursting. A couple of days later the vehicle
Drops are falling into the two cockpits of the red kayak, but that is no prob- will have disappeared. A green tangle the size of a garage and some pieces of
lem. I will simply haul it up a bit later and turn it over. In between the two glass on the road are all that remain.
The plants are best left alone. The green spears are extremely sticky and
openings is a handy, practically watertight compartment. It is empty at the
leave your skin burning when you rip them off. Not to mention the itching
moment.
The bank is not exactly a bank. No pebbles, reeds or mud. No jetty or bol- caused by the downy hairs. Once they get into your clothes, you scratch yourlards, but paving stones. Nearby, a zebra crossing recedes into the water, its self silly and there is usually nothing for it but to burn them in the barrel and
plunder a new wardrobe.
final white stripe like rippling marble, a treasure from another world.
The crescent-shaped stings on the man-sized leaves look like the claws
Somewhere between the horizon and me, the gothic towers rise above
the steely water surface, forsaken, like fancy cakes at an abandoned buffet. of prehistoric monsters. Take an axe to the growth and a viscous beige subThe jet-black birds are nowhere to be seen, but that does not mean a thing. stance will seep from the stems, smelling of rotten eggs and making your
Behind me, far behind me, stands Torres. Cold, dripping with damp, glis- eyes water. The stench is unbearable.
The streets are theirs now. I am forced to make lengthy detours to get
tening, as though someone had dipped the building in slime. I try not to
back to Torres and once there I have to walk the same path in the courtyard
think about it.
The gap is still there too. Right now it looks like a ridged tube, a passage every day to keep it more or less passable. The table salt I sprinkled in the
of wet wool, revealing the merest suggestion of light. No bright yellow halo, beginning has no effect. Washed away by the rain.
I clamber back up through the labyrinth that the plants have created and
just a greyish hole in the cloud cover, little more than an inflamed wound
that changes shape from one day to the next.
that refuses to heal.
The roundabout has turned into a public garden. Only the white flagpoles
No rainbow today. The light is not bright enough. Thank goodness. The
wealth of colours was getting on my nerves. The cheery spectacle was just as are unassailable as they jut into the sky. At the top, the fabric has long since
rotted away.
inappropriate as a peacock on a dung-hill.
This is no man’s land.
In front of the gutted supermarket the plants are gratefully using the bar[…]
ricade of shopping trolleys as a climbing frame. The metalwork has all but
disappeared, leaving just the odd orange handle with coin lock and a couple
The city has given up the fight.
Its buildings are being eroded by the incessant rain. Increasingly, large of rubber wheels.
Down the front of the sandwich bar I can just make out a greasy handpieces of debris obstruct the pavements; the concrete crumbles when you
kick it. Occasionally, in the distance, you hear thunderous rumbling and print, like a greeting from a bygone era. I give a small wave back.
I embark on the final ascent, the steepest section, the mountain where
creaking, followed by the roar of falling bricks. Clouds of grey dust billow
beside the façades of the townhouses until the rain beats them down again. Torres is situated. The windows of the houses along the way have all been
When it happens nearby, the ground shakes beneath your feet. These days it boarded up. Where the doors are open, nobody is home.
We must not harbour any illusions: soon this city will be gone, turned foris better to walk down the middle of the road.
Closer to the water’s edge, the houses are subsiding. The foundations are est, a jungle where we do not belong. We have been rendered obsolete, reslowly softening and the walls are starting to warp, as if someone had taken dundant chunks of meat, which, at best, may serve as compost.
From now on it is better to be a tree.
hold of the frame and was wringing it like a cloth. Gripped by a bizarre hanTRANSLATED BY LAURA VROOMEN
kering, the buildings list towards the lake until they collapse and get swal(extract from the novel, sample translation by the courtasy
lowed up by the water.
of the Flamish Literature Fond)
Plant life is teeming.
Strange plants are appearing out of sewers, sporting leathery leaves that
grow to a terrifying size, big enough for a human to lie in were it not for the
razor-sharp thorns at the end of each vein. Little stands in their way as the
plants take over roundabouts and squares.
The upper parts of some façades are completely covered in tall grass that
sways in the wind. The vertical lawns are not unlike a winter coat keeping the
buildings nice and snug. If it were not for the constant rain, they would undoubtedly glisten with dew in the mornings. In the afternoon you would see
bees and butterflies skimming across them. But flowers are nowhere to be seen.
The bottom floors, where the light is even dimmer, are covered in thick,
sticky clusters of moss; hard knobs that grow out of the vents and remind
me of broccoli.
EU ROPE FROM A G LOBAL PE RSPECTIV E
HA SSAN PREISLE R
INNOCENCE FOUNDATION
Brown Man’s Burden
My name is Hassan Preisler. I’ve participated in forums where subjects like
equal treatment, diversity, inclusion, and integration, are on the table. Veritably, I’m an actor, but I put on my conference jacket and dress shoes, trim my
beard, and give talks on my childhood, and show film clips of other people of
color who also feel inferior, and I sit on panels with other people of color who,
like me, are paid handsome fees to describe how it feels to be colored, in a
white world. We sit in town halls, theaters, cinemas, museums, libraries. Anywhere a room can be found, a conference held. Just like Blackwater milked
the war chest, the soldiers of the integration industry have had free rein to
run drive bys and open fire on civilians in the name of the cause. With their
graying hair and balding heads, politicians, CEOs, producers, directors, and
consultants sit opposite me. Their shirts are expensive and their collars stiff,
and although they sit and I stand, they still hover over me, but the corners of
their mouths are dry, and their hands are in tense grip of the flimsy plastic
water cups they raise to their lips, and the cups are subsequently refilled by
subservient smiling volunteer workers. The tall gentlemen are scared of the
tribunal, and it has subpoenaed me as a witness, and we are in Nürnberg, Johannesburg, and the Haag, and we all rise when the great integration monster
comes in writhing through the doorway in its long black gown and its white
cross-collar and wig, shedding its name in front of our very eyes, turning into
the inclusion monster, smiling, and I’m called to the stand, and I’m no longer
a foreign worker, I’m a guest worker, and I’m no longer an immigrant, I’m a
new-Dane, and I no longer have a minority background, I’m of intercultural
descent, and I’m no longer a first- or second- or third- or fourth- or fifth-generation immigrant, and I’m allowed to blindfold the tall gentlemen and spin
the cylinder and let the trigger click with the muzzle against their temples.
“Arm yourselves with patience”, they say, and “think of that time when we had
a black woman give the weather forecast”, one of them says, with his bald
head, glasses, and beard, and he holds me closely against him, and I’m stuck
in his grip, and I don’t know which leg to stand on, because he smells just like
grandfather Mogens, but he looks like the picture from the history book of
the officer in the red uniform in Delhi, who mows down my Indian forefather
with a hand-cranked Gatling gun, while my Indian forefather shouts, “Long
live the revolution”, in Urdu, because he wants to be lord of his own manor,
and we pull ourselves free, and I’m at my wits’ end.
I meet my May on New Year’s Eve at an ad agency party, and she’s invited
by the twins, Mads and Andreas, and I’m invited by Who Knows, and I arrive
with a bird formation of women behind me, and it’s me breaking the wind,
and I do it in a tuxedo, and I’m flying high just now, because it’s been a long
time since I’ve listened to Hassan, and he’s got lots to tell, since back in Beirut Yalda packed her bag and flamenco dresses and left, and in Aarhus he
played to empty seats and a two star review from The Aarhus Post, and in the
north of Copenhagen, his grandfather Mogens collapsed on the crapper with
a lump in his skull, and they pumped him up with cortisone and wrapped
him in white and lay him high up with a panoramic view over the highway,
and grandfather Mogens let go of his personality and pointed to the window
and said to mother, “Those Hobbits just drive on and drive on”, and grandfather Mogens withered slowly in his bed, and his eyes sank deeper in their
sockets, and his skin sagged lower around his skull, and grandfather Mogens
signed off open-mouthed with a scanty sigh, “Ah”, and we departed with him
from Utzon’s Church in benign Bagsværd, and the priest with the long beard
let me read the speech I wrote to grandfather Mogens and his picture book
beautiful Birthe, whom he met when grandmother Else shrank into herself,
and I stood up and walked down the aisle and unfolded my piece of paper,
and I leaned against the coffin to support my trembling legs.
Some years later, at Fælledgården nursing home, picture book beautiful
Birthe died with memories of none other than men, men that were greedy, and
men that were generous, and the greediest had a name which sounded something like bam-bambam, and the most generous had a name which sounded
more like bamboom-bamboom-bamboom, and I manage to visit Birthe just in
time, and we look at pictures of grandfather Mogens, and we drink tea and eat
cookies, and she says, “Who is it you are again?”, and I say, “I’m Hassan”, and
think, “I’ve been here before”, and I’m back with grandmother Else at Møllegården nursing home, and grandmother Else says, “Who is it you are again?”,
and I say, “I’m Hassan”. I can’t bear visiting grandmother Else, but with a little
help from my guilt I drag myself up and take the train to lazy Lyngby and the
city bus to the lake, and I get off, and I open my umbrella, and I walk past a
boy scout cabin and an antenna tower, and I get there, and the smell of fragrance-free washing powder and tasteless instant mashed potato powder reel
me in through the drab sounding sliding door, and there are corridors of red
bricks, and floral patterned patchwork in wooden frames, and slippery linoleum floors, and I see the day room from a long distance, and I halt for a second,
for today grandmother Else is up and around, and today grandmother Else is
holding court, and grandmother Else is traveling to far away places, taking the
others with her, and she seizes the day, and she paints the dayroom red, and
she is Karen Blixen and Emma Goldman and Asta Nielsen, and I take a step into
her story, and, “Here comes my cousin Hassan”, she says, and “he’s from India.
Maharaja”, and grandmother Else is proud as the pope.
(extract from the novel, sample transation
by the courtesy of the Danish trt Center)
63
H u n g a r i a n
L e t t r e
•
S p e c i a l
E n g l i s h
E d i t i o n
Sp ring 2014
D U B R AV K A U G R E Š I Č
We are barbarians
UGREŠIČ,
Dubravka
Europe in Sepia
University of
Rochester: Open
Letter Books, 2014
Karaoke Culture
University of
Rochester: Open
Letter Books, 2011
Baba Yaga Laid
An Egg
Grove Press, 2010
Nobody’s Home
University of
Rochester: Open
Letter Books, 2008
The Ministry of Pain
Ecco Press, 2006
Lend Me Your
Character
Dalkey Archive
Press, 2004
Thank You For Not
Reading
Dalkey Archive
Press, 2003
The Museum of
Unconditional
Surrender
Weidenfeld and
Nicolson, 1998
The Culture of Lies
Weidenfeld and
Nicolson, 1998
Have A Nice
Day: From the
Balkan War to the
American Dream
Viking Penguin,
1995
Fording the Stream
of Consciousness
Northwestern
University Press,
1993
In the Jaws of Life
and Other Stories
Northwestern
University Press,
1993
64
We are barbarians. The members of our tribe bear the invisible stamp of Columbus on their foreheads. We travel west and end up east; indeed, the farther west we go the farther east we get. Our tribe is cursed.
We settle on the outskirts of cities. We choose them so we can gather up
our tents when the time comes and set off again, move farther west to get farther east. We live in grey, crowded, cheaply constructed prefabs that encircle
the city centre like keys on a castellan’s ring. Some people call them ghettos.
All the settlements are the same. We can be recognized by the round
metal satellite dishes sticking out from our balconies, the devices that enable us to feel the pulse of the people we have left behind. We, the losers,
are still at one with the lifeblood of the land we abandoned in hatred. They
don’t have satellite dishes; they have dogs. We are afraid of dogs. At twilight
their dogs go out onto the balconies and bark their messages to one another.
The barking bounces back and forth against the concrete buildings like pingpong balls. The echo drives them mad. They bark even louder.
We have children. We multiply dangerously. Kangaroos are said to have
one of their young in tow, another in their pockets, a third in their wombs on
the point of bursting out and a fourth, in the form of a barely fertilized egg,
waiting to take its place. Our women are as big as kangaroos: they have their
numerous offspring in tow like the keys on the ring of a castellan’s wife. Our
children have straight necks, dark complexions, dark hair and black eyes; our
children are clones, the males little men, the spit and image of their fathers,
the females little women, the spit and image of their mothers.
Here we bring neatly packed food home from Basis and Aldi and Lidl and
Dirk van de Broek; there we buy wholesale, in bulk. Our fish markets reek
of fish, our butcher shops of blood. Our shops are dirty: we buy meat from
large plastic barrels filled with brine. We finger everything, pick at it, poke at
it, turn it over, listen to it and then drag it from stall to stall. The bazaar is the
very heart of our existence.
Our settlements are like oases: they satisfy our every need. They’ve got
nursery schools and elementary schools and driving schools; they’ve got post
offices and filling stations and telecom centres offering cheap rates to the
home country; they’ve got dry cleaners and launderettes and beauty salons,
where our people cut our people’s hair; they’ve got coffee shops, where the
young can get their hashish, and the other youth centre, Turkse Pizza; and
they’ve got our place of worship and two or three of our pubs for the men.
We’ve got our pubs; they have got theirs. The zones are sharply delineated.
No tourists find their way to us, except when lost. As for the high life, the
‘canal people’, they say they need a low-life visa. And what would they do here
anyway? So they stick to their part of town and we to ours. Everyone feels
safer that way, more at home.
We are barbarians. We are the flipside of the perfect society, we are its
thumb-nosing jack-in-the-box, its demi-monde, its ugly underside – its parallel world. We wade through its shit, canine and human; we confront its rats
in our early-morning and late-night peregrinations. The wind comes to us to
blow litter through the air: the plastic bags we leave behind, the Mars, Kit-Kat
and Snickers wrappers our children drop. And every morning seagulls come
to dine on rotting junk food, magpies to peck at Turkish pizza.
Our young men are wild and sullen, full of anger. At night they converge
in the concrete wasteland like packs of stray dogs and let off steam till the
small hours. They chase one another across abandoned playgrounds, swinging on swings, jumping and shouting; they yank receivers out of public phone
booths; they hurl stones at car windows; they steal whatever they can lay
their hands on; they play football with empty beer cans that sound like machine guns; they ride their motorcycles like maniacs through the settlements.
Night-time is their time. We hide and tremble like mice: their caterwauling
makes our blood run cold. The police give our zone a wide berth; they let
the screams eat into us like acid. Our young men are quick with their knives:
their knives are extensions of their hands. Our young men are champion spitters: their spittle marks their territory as dogs’ urine marks theirs. And they
always run together, in a pack, like village curs.
Our young women are quiet. That their very existence is an embarrassment to them shows clearly on their faces. Hair hidden under kerchiefs, eyes
fixed on the ground, they slip through the city like shadows. If you happen
to see one in a tram, she will be hunched over a prayer book chomping the
sacred syllables like so many sunflower seeds. She will soon alight, looking
neither right nor left, and scurry off, still mouthing the text, her lips in constant motion, like a camel’s.
Our beetle-browed men congregate around turquoise-domed concrete
mosques that look more like day-care centres than places of worship. In summer they squat against their mosque, scratching their backs on its walls and
seeking relief from the heat (though there is no sun). They mill about, sniffing at one another, circling the mosque, hands behind backs, pausing, shifting their weight from one foot to the other, patting one another on the back,
embracing when they meet, embracing when they part, and when on special
holidays the mosque is full they overflow onto the asphalt and kneel there facing east. Like a dog its bone, our men gnaw their mosque from dawn till dusk.
And when the sky comes down so low that it touches our heads, when the
barometer sinks and the air is so humid we breathe through gills, then our
bodies grow heavy and fall to the bottom, where there are no zones, where
we crawl about on all fours, spent like fish after spawning. And only there, at
rock bottom, do our scales graze one another, do our fins meet as we pass,
do we press our gills to those of another.
We are barbarians. We have no writing; we leave our signatures on the
wind: we utter sounds, we signal with our calls, our shouts, our screams, our
spit. That is how we mark our territory. Our fingers drum on everything they
touch: dustbins, windowpanes, pipes. We drum, therefore we are. We make
rackets, rackets as painful as toothaches. We bawl at weddings and wail at
funerals, our women’s convulsive voices battering the concrete façades like
tempests. We break glasses and go bang: firecrackers are our favourite toys.
Sound is our alphabet, the noise we produce is the only proof that we exist,
the only trace we leave behind. We are like dogs: we bark. We bark at the lowering grey sky weighing down on our heads.
We are sleepers. The members of our tribe bear the invisible stamp of Columbus on their foreheads. We travel west and end up east; indeed, the farther west we go the farther east we get. Our tribe is cursed. Returning to the
lands whence we came spells our death; remaining in the lands whither we
have come spells defeat. Hence the endless repetition, in our dreams, of the
departure sequence, the moment of departure being our only moment of triumph. Sometimes during our short walk home from the mosque we are overcome by sleepiness and find a bench beneath a tree doing its best to grow.
The air is moist and warm, the neon moon full, the night sky navy blue. And
so we fall asleep in the concrete oasis under the concrete tree and rerun the
departure sequence for the umpteenth time. We take up our tents, hoist our
bags on our back, and up comes a gale and churns the desert sand, and our
silhouettes start to fade, and we vanish altogether in the thick curtain of sand.
TRANSLATED BY MICHAEL HENRY HEIM
(extract from the book Ministry of Pain)
EU ROPE FROM A G LOBAL PE RSPECTIV E
H AT I C E M E RY E M I N T E R V I E W E D A M Y S PA N G L E R A N D İ D I L AY D O Ğ A N
“Literature is the spice of life”
How would you describe yourself and your
work to an audience that doesn’t know you at all?
There was something Fethi Naci said about
Turkish literature. I do not totally agree with him
but I like descriptions of literature which draw
parallels with other areas of life. He said that
Turkish literature was like Turkish football. But
that Turkish football had recently left Turkish literature behind. This was back when they became
UEFA champions. I think that they’re on about
even footing now with Orhan Pamuk. It is difficult to talk about your own work. But I have always thought I resembled Turkey. I used to think
this back when I was a child too. Where I stood
in my class in school as a kid, my position in the
places I worked, all my feelings of deficiency in
my relationships, my lack of self-confidence, my
weaknesses, lack of knowledge, I have always felt
incomplete. And now that is how I see myself on
the literary scene. I find myself insufficient and
incomplete. But I’m now aware that all these deficiencies can be seen as a kind of unique flavour.
I don’t really know. What I mean is; literature is
something I do without really knowing. It’s not
really something I do knowingly. When I worked
in the bank I did that knowingly, that is the sort
of work you do knowingly. I believe this is how
real authors write. So I’m sort of flattering myself
here. But I also know that I do it wrong, and that
it’s incomplete. I mostly find my narrative ability
insufficient. I want to tell someone’s story. I want
to write about a friend, my mother, a cat, a dog, a
bird, good and evil, all human feelings, and I find
myself insufficient in describing all of them. But
I force myself. And I know that this is exactly what
pushes me to write. I have never been satisfied
with my writing. And I don’t think I ever will be.
doing so met an extraordinary woman. My grandmother was the daughter of a Kurdish family and
she was a treasure full of wonderful stories. And
I was always special to her, perhaps because my
mum and dad were divorced. She had seventeen
grandchildren and I was her favourite. She would
always say that she loved me most of all in front of
everyone. Hatice is different she would say. And I
loved her every bit as much as she loved me. She
had this book which I haven’t managed to find
yet, Turkish translations of surahs from the Koran.
They were short stories or anecdotes that had
been retold. She would make me read them every
night. In Turkish. She didn’t speak Arabic herself.
She didn’t perform salaat, she was Alawi, and never
spoke a word of Kurdish. She was a thoroughly assimilated Kurd. She didn’t like Kurds but she was a
Kurd herself. Anyway, she is someone I will always
deeply miss. Not because she was my grandmother, but because she was a person so full of stories, the kind of person I wish I could be around
all the time. She had this suitcase under her bed.
And in that suitcase there was a sack, and in that
sack forty other small sacks, and inside each small
sack was a stone, and each stone had its own story.
I haven’t written her stone stories yet, but I hope to
someday. Each stone had its own tale of goodness,
evil, treachery, in which virtues were praised and
vices were condemned. She would tell me their
stories. Once upon a time, each of those stones
used to be other objects, say like, it was a grain of
rice, but it had turned to stone, an olive seed, but it
had turned to stone, because… well there are millions of stories which I won’t tell you now. Some
of them were objects that turned to stone after a
person had done evil to some other person. Can
you imagine being eight years old and living with
a woman who tells you stories like that? Before
then, because I went to boarding school, I never
My grandmother was of a Kurdish family,
knew what it was to play outside. Then I moved in
full of wonderful stories
with my grandmother, and she lived in a remote
What were you like as a child?

My parents got divorced when I was five. I went area on the suburbs of İstanbul, where then there

to five or six different primary schools. We moved were only empty land and fields. There were small
around a lot. My mother and father had a truly houses on those vast fields. I was a talented child
passionate relationship. They were divorced but when it came to organising games and getting my
they wouldn’t stop seeing each other and it wasn’t friends to play them. I would tell the other kids
because of me. There was this constant tension stories, make things up, lie to them, trick them.
because they just wouldn’t let go of each other. I Witch stories, Jinn stories… Stuff like, an old man
was actually a lost child, amid all that tension. But used to live in that deserted house, he had a buckI remember that I had turned that loss into an ad- et full of gold coins… and after dark, we’d all go
vantage back then. I was a curious child, I was in- on an expedition to the house where the old man
terested in things. I remember back then that I had used to live. That period of my childhood was
developed an extraordinary imagination. I went wonderful. I flew kites in those fields. They were
to boarding school from the age of five to eight. the years when I felt free. But then on the other
But then I moved in with my grandmother and in hand, there was the tension caused by my mother
and father. They got back together when I was
eleven. I always say this, and today I am saying it as
a mother: sometimes, it is just better for parents to
stay away from each other. When my parents got
back together, I entered a very dark, depressing
period. From the age of eleven until I graduated
from college, I was in a state of paralysis, a sort of
coma, I was numb. You know when you can’t see
the world clearly, when nothing ever seems right, a
truly unhealthy state. When I think about it today,
I still get upset to think how that curious child
who made up games and had a boundless imagination that allowed her to make up and tell all
those scary stories disappeared and was replaced
by this numb person. But I don’t know, maybe it
was a necessary period in the process of my becoming who I am.
I was going to travel the world
So when exactly did you begin writing? Did

you write when you were young?
Well, I used to write poems when I was in
secondary school. Very short, sweet little poems.
I mostly wrote poems about nature. But I really
started writing when I was in university. Suddenly
I had this great desire to keep a regular diary, and
so I felt the need to write in that diary until my
arm just about fell off. I just couldn’t stop. I wrote
everything in great detail. It was very tiring though.
I just wanted to write simple diary entries, but I
couldn’t. And then, in my last year, I started writing
short stories, but I didn’t tell anyone, and I didn’t
send them off to any literary journals or anything.
To tell you the truth, I didn’t even know that such a
world existed. But after I started writing, I felt this
great sense of relief. For the very first time. Then I
graduated and started working in a bank. I was living a life I had never wanted for myself. And then
I met Metin. He is a caricaturist and a writer, a humorist, as you already know. I had him read my
early stories. I’d ask him to have a look at them,
and then we’d discuss them together. Afterwards,
I sent those stories to a competition at the literary
journal Varlık. And I received an honourable mention award. After I received that award, a process of
recovery began for me. That’s what I would call it.
And after that I quit my job at the bank. And then
I went to the UK.
Yes. We were going to ask you about that. Tell

us a bit about your experiences there.
I went as an au-pair. What I really had in mind

was to stay there for a couple of months, and
from there I’d go to France, and from there to
Malaysia, and from there to New Zealand. I was
going to travel the world. I worked as a cleaner in
65
H u n g a r i a n
L e t t r e
•
S p e c i a l
E n g l i s h
E d i t i o n
The women I wrote about were all common people
????
Sp ring 2014
more and when I had thirty pieces, I had it published as Sinek Kadar Kocam Olsun Başımda Bulunsun in 2002. It was published by İletişim. And
something I could never have imagined happened.
The book sold a lot of copies. In the first week it
was reprinted three times. In the first month it was
reprinted five times and this went on throughout
the rest of the year. And I think it will always sell
well as long as it’s advertised properly. But that’s
not what really matters, the sales I mean. The
women I wrote about in that book were all common people. The greatest praise I received for
that book was something my friend who works
in Arkadaş bookstore in İstiklal told me. He said
‘Meryem, you should see the women who come to
buy your book, their hands are all sore and they
look like they’ve just finished doing the washing
up, and have stormed out to get your book.’ I was
so happy. This was such great praise. Every author
would want this. I mean, it’s not just about selling
well; it’s about quality, who really reads your books.
So how did you get around to creating Kozluk?

I didn’t really do it consciously. I mean, I didn’t

set out with the idea to write a book about the
poor. But then again this was something in my unconscious that kept pestering me. Both because I
have a background in magazine publishing, and
because of my family background. My family is
from Sivas, they immigrated to İstanbul in the 60’s
and although it has been fifty years, and fifty years
is a very long time, they are still divided amongst
themselves as those who have managed to adapt
and those who haven’t. You can’t really say that
they are of the wealthier class. So I know all that
I know from my personal experiences. Therefore I
am familiar with poverty, and as magazine publisher, as a person who is socially responsible, as a person who has a point of view in life, and as a person
who has a point of view that definitely leans to the
left, I know that this problem exists in Turkey and
I’d like to tell the stories of these people. I know
these people and their problems very well. I know
what they laugh at. I see you have a question for
me there (peeping at our notes), who is Zümrüt,
who is Elmas? Zümrüt is the common name for
all the women I know that are like her, Elmas is
the common name for all the young girls I know
that live in the shanties. Cavit, the name for all
the idle, unemployed, aimless, weak and feeble
men. And his weakness is not just about money,
he is spiritually weak as well, he feels feeble, and
that’s why he keeps saying that he has no one to
lean on. But I tried to write about them in blatant honesty, portraying all their cunningness and
everything. I wasn’t trying to glorify poverty or trying to get the reader to feel sorry for them. I wrote
about them clear and simple, showing all their
cunningness and shrewdness, their slyness, and
their cheerfulness. And the parts I enjoyed writing
the most were chapters which showed how simple
and ordinary objects were of vital importance to
them. But I didn’t sit down to write a three hundred page novel. I started writing a story, as always,
and it just kept going. It could have gone on forever. That’s why I found it so difficult to finish. They
always say you need some understanding of engineering to write a novel, they say you need some
sort of academic background. A novel is sort of like
a project if you come to think about it. It’s a building with its base and roof, a beginning and an end. A construct.

Yes, a construct. And within that construct
I became deaf and dumb. I wanted to finish it
but I just couldn’t, and I didn’t know where it
was leading to, their life just kept on running.
It’s morning, it’s evening, they wake up, they go
to bed, the baby cries, there’s the disabled girl…
I could have gone on forever. There’s so much to
write about in Kozluk.
We wanted to ask you about the relationship

between translator and author.
INNOCENCE FOUNDATION
66
several different homes. I was unbelievably happy.
I woke up early in the mornings, at seven o’clock.
I’d do the cleaning until twelve. And then I’d take
a shower and then, well I was in the countryside
in north London where there were these huge
parks extending as far as the eye could see, and
so, I’d grab a book, like one of the novels in Lawrence Durrell’s The Alexandria Quartet, and I’d
just let go and lose myself in the deep love stories
of Justine, or Clea. It was wonderful. I read a lot of
books. I worked a lot. I had decided to become an
author when I left Turkey. I felt that it was too late,
that I was too old. But when I think about it today,
I was only twenty-three. But I felt that it was too
late for everything and that I was incapable, not
fully equipped. I stayed there for six months. I can
honestly say that it was the most productive period of my life. I was fascinated by the difference between mental and physical labour. Physical labour
is truly amazing. When you’re physically exhausted and you take a shower to cleanse yourself, and
then you turn your gaze to the world with those
weary but keen eyes and return to your own tranquil or not so tranquil state of mind and begin to
observe and analyse things again, this had made
me extremely creative. I returned with a great
number of drafts of short stories. And I was physically recovered. The process of my becoming a
writer has been a process of recovery. Before I decided to become a writer, I was an unhealthy person. After I started writing, I could feel that I was
getting better. I still don’t feel fully recovered
but… I have managed to break free of all that
chaos. I now feel a lot better.
Tell us about your first book, Siftah.

In Siftah there are several sacks, several stones

that belong to me, and I feel as if I sometimes
delve my hand into that book and pick one of
those stones out. İnsan Kısım Kısım Yer Damar
Damar is something I took from there. It was
also the source for Sinek Kadar Kocam Olsun.
I think it will always be my fountainhead. The stories in Siftah are amateur, not very well written,
the language is perhaps a bit sloppy. But it is still
my source and there are still a few things I think I
could pick out from there and write. None of those
stories are connected to each other and when I
look back today, I can see that each was written in
a distinct moment of delirium. Looking back now,
I see them not as distinct stories but as distinct
states of mind that all belong to me. They are all
immanent, embedded in me, and the last thing to
arise from there was Kozluk, and now other things
will arise. I’m working on a few things now.
And then Sinek Kadar Kocam Olsun Başımda

Bulunsun appeared in 2002.
Yes. Well, first I wrote this story which consisted of short paragraphs each on a different woman’s experience. They begin; if I were an Imam’s
wife, if I were a butcher’s wife… and so on. It was
published in the literary journal Varlık. After it
was published, the editor Enver Ercan called me
and said ‘Meryem, a few people have called me
about this story, some of these people are prestigious authors, others are readers who said that they
loved it.’ I had more to write anyway, so I decided
to make that short story into a book. So I wrote
EU ROPE FROM A G LOBAL PE RSPECTIV E
I have to confess that up until recently, I had

never given it much thought. Because since the
publication of my first book, I have known and
been told by everyone, that I write in a very local
language. I have been told that my writing is so
local and that I use so many Turkish idioms and
proverbs that it would be extremely difficult, if not
impossible, for my work to be translated into another language. A lot of people have told me that
all the flavour would be lost; the text would no
longer be the same, but a recreation of the translator. So I’ve only recently started thinking about this.
I think it can be possible if the author and translator spend plenty of time together (of course this
can only apply to authors that are still alive), get to
know each other better and get a grasp of the daily
language each uses. I’m saying this, but I have no
idea if it’s true. Ok, the text has to be of primary importance, but the way an author expresses herself
can be an assistive element for the translator. How
the author speaks, where she looks and what she
sees. Other than this, I really have no knowledge.
Well, the local language, idioms and proverbs

you use do cause a certain unfamiliarity when
translated. Or else the text loses its originality.
I always ask myself what my mother would have
said in that certain situation. But if I use the idioms that my mother would have used, then the
text is something totally different.
I have thought about that, I haven’t come to any

sort of conclusion, but I can tell you about what I
thought. I could write the same story, any of my
stories, plain and translatable. Any author could do
that. This is a matter of preference. But when you’re
in a tumult as you write, as you create something,
sometimes you write in a delirium, real fast, and
you read through it and do some editing afterwards. But when you’ve finished writing and all
these idioms and proverbs have rightly found their
place, you can’t go back and take them out thinking, ‘What if it’s ever translated?’ The moment you
think this, you become a bank clerk making calculations, and I dropped out of that. The terms used
in a bank are universal. That’s what makes Literature so valuable. I mean, it’s those idioms and proverbs that make the Turkish Turkish, the German
German, the French French, and the Argentinean
Argentinean. And I do believe it is possible. I mean,
those idioms can be translated. Perhaps it wouldn’t
be easy. But they do say that English is a language
that has forty thousand words, whereas in Turkish
we have far fewer words. So there must be some
sort of equivalence. It’s impossible for there not to
be. There has to be a saying in English forİnsan
Kısım Kısım Yer Damar Damar. Something that
means the more different people there are, the
more different ideas and thoughts you get. Something that would give the same flavour. Are there writers in Turkey you think are not

being given the attention they deserve?
There are writers in Turkey that I would like

to see come to the forefront. They’re generally not
found literary enough. Either because they are considered too marginal, or found to be too simple.
Therefore, they are not believed to be worthy of respect. I see that there is wider diversity in European
and American literature. On the one hand you have
huge and heavy, serious literary texts, and on the
other you have works in which marginal lives are
told. We praise both. We love both Bukowski and
any other important author in American literature.
We accept everything when it’s foreign, but when it’s
native, it’s a whole different story. When we come
to talk about literature in Turkey, we begin with
Tanpınar and end with Orhan Pamuk, and sometimes stick in Latife Tekin and Yaşar Kemal. This is
literature. Well, no it’s not. There are such peculiar lives. Perhaps the only author who has told the
story of how different and colourful lives are lived
here in Turkey is Metin Kaçan, in his Dolapdere
story, Ağır Roman, and I’m sure you’ll remember
the tremendous impact that that novel made. There
are people today who lead really different lives. Especially around Beyoğlu, there’s a seriously rich subculture. And I want them to be known. There’s the
schizophrenic writer Sibel Torunoğlu. There’s Mehmet Kartal, the man is a murderer, a real murderer.
Take William Burroughs for example, when he does
it, we praise him to the skies, but when our own authors do it, we don’t see it the same.
How would you comment on the relationship be
tween literature and society in Turkey today?
Literature played a primary role for us in the

past, in the period that corresponds to my childhood. Then I grew up, I reached the age of twenty-five or thirty, and opened my eyes to a world in
which literature flowed outside real life. As if it were
some sort of sector. The butchers’ sector, the banking sector, the textile sector, and finally, the literary
sector. There is no such thing. Literature is not a sector but something that embraces all aspects of life;
it is the spice of life. This no longer exists, but I am
one of those who believe it can be revived.
(First published in the New Prose Fiction from
Turkey issue 32 of Transcript)
67
H u n g a r i a n
L e t t r e
•
S p e c i a l
E n g l i s h
E d i t i o n
Sp ring 2014
D I S C U S S I O N S
KARL SCHLÖGEL
Europe tests its boundaries
SCHLÖGEL, Karl
Moscow, 1937
Polity Press, 2013
Russian-German
Special Relations
in the Twentieth
Century
Bloomsbury, 2006
68
A searching movement
With the disappearance of the Iron Curtain – the Great Border – the whole system of coordinates in Europe has changed.
The East no longer exists, writes Karl
Schlögel, but what has emerged in its
place is neither the old nor the new. It is
a no-longer and a not-yet.
When I am away at a university in
the south or west of Germany and tell
people that it is only eighty kilometres,
or just under an hour‘s train journey,
from Berlin to the Polish border, my
words are always greeted with a disbelieving silence. People have the strangest
ideas about what is „behind” Berlin. You
can judge the extent of the feeling of
foreignness by the astonishment many
people experience on their first contact with „the East”. They are amazed
when they visit Cracow for the first time,
and they can hardly believe their eyes
when confronted by the Warsaw skyline
with its new skyscrapers. The fact that
Cracow is one of the oldest university cities worthy of being mentioned in
the same breath as Padua, Oxford and
Heidelberg only becomes comprehensible when one has been there. Hardly
anyone knows that Riga, the capital of
Latvia, was one of the leading centres
of European Art Nouveau along with
Brussels and Barcelona, and people are
absolutely thrilled when they finally make
it to Leningrad/St. Petersburg and find it
hard to believe that this centre of European culture is situated so far away and
so very much outside the Western European horizon. This applies not only to
people with average perceptive powers
but also to high-level European politicians.
The image of Europe is still focused on
the West. When we speak of the „new
Europe”, we think first of Brussels, Strasbourg, Luxembourg or even Maastricht,
but certainly not of Prague,Warsaw or
Budapest, although it was from there
that the whole of Europe began. And
hardly anyone thinks of Kiev, although
it was once known as the „mother of all
Russian cities” and the centre of Slavonic
Christianity. Our awareness of Europe is,
generally speaking, asymmetrical. Eastern Europeans are far more interested
in Western Europe than the other way
round. During the past decade, millions
of Poles, Czechs and Russians travelled
to the „other Europe” and acquired firsthand information and impressions, but
there was no comparable movement
from Western to Eastern Europe. This
is not only because the infrastructure
is better or there is more to see in the
West, but also because we in the West
are comparatively uninformed and disinterested. Even though it is partly true that
the East is more „backward” and not as
modern, that is no reason for the absurdly fanciful ideas we have about Eastern
Europe. When we read the reports, we
sometimes gain the impression that the
East consists of nothing but chaos, crime
and collapse, and we are surprised, when
we actually go there, to see that children
go to school, do their work and lead,
admittedly strenuous, but otherwise normal lives. In short, east of Berlin is also
Europe, a different Europe that still has to
be discovered and assimilated.
Eastern and Western Europe are
moving closer together. There is a new
network and a new system of coordinates. With the disappearance of the
Iron Curtain and the Berlin Wall, the
whole system of coordinates in Europe
has changed. In Berlin I see cars with
number plates from Latvia, Russia, the
Ukraine and, of course, Poland. The distances have shrunk. Cities that were once
complete strangers have become neighbours. It is only just under five hours
from Berlin to Prague or Warsaw, and
two hours to Stettin or Posen. The airline
network has changed both qualitatively
and quantitatively. Nowadays you can
fly to many cities in the Russian provinces. Europe is acquiring a new network. I
observe it on the German-Polish border,
where the caravan of stationary lorries is
often sixty kilometres long. The whole
of Europe is represented at these truck
stops, with lorries from Barcelona and
Helsinki, Naples and Vilnius, Rotterdam
and Samara, Teheran and London. New
main traffic routes and corridors are
emerging, and new borders. Although
the Great Border – the Iron Curtain – no
longer exists, there are many new small
ones. Anyone travelling from Berlin to St.
Petersburg via the Baltic States now has
to cross four borders where there used
to be only two.
The inner centre, the inner axis of
post-war Europe, was the Iron Cur tain,
the Wall that divided everything up and
gave Europe a bipolar geography. The
Wall was the principle of order in divided Europe. This is different now. The old
historical regions of Europe are drifting
apart, sometimes peaceably, as in Czechoslovakia or the Baltic States, sometimes
more violently, as in later Yugoslavia or
the ex-Soviet Union; and perhaps also
in Western Europe, where, quite unexpectedly, a passionate desire for national independence has reappeared. In
Europe, the historically different regions
are re-emerging more strongly than ever:
Northeast Europe around the Baltic Sea,
for example, an area that bears the stamp
of the Hanseatic League, which experienced an astonishing revival after the
elimination of the split, is dreaming the
dream of Hong Kong: in the double city
of Copenhagen/Gothenburg, in Kaliningrad/Königsberg, and in the greatest
urban agglomeration on the Baltic, the
five-million city of St. Petersburg. And
Southeast Europe, the catchment area
of the region‘s most important capital,
Istanbul, which – despite the religious
differences – includes part of the Black
Sea region, the Aegean Sea and the Balkans, extending as far as Bucharest and
Sofia. Even in the south of Russia, on
the Crimea and in the Ukraine, one feels
something of the influence of the Ottoman-European metropolis, and I believe
that it is not only Islamic fundamentalism
but also the modernization potential and
power of the metropolis with a population of twelve million that is important.
Then there is Eastern Europe in the real
sense, i.e. the Russian Federation, Belarus and the Ukraine; here, too, the order
of things is changing. I do not think there
is any doubt about the advancement of
Moscow to a Global City of the Eurasian
world, but Minsk and Kiev will also play
an important role in the network. They
will be the modernization centres of their
region. Finally, there is Central Europe,
i.e. the region which cannot be precisely
defined. This was the area that was most
badly damaged by the division, yet it is
coming together again very fast – towns
such as Milan and Vienna, Budapest and
Bratislava, Warsaw and Vilnius, Lemberg
and Cracow, Prague and Munich. Despite
the twentieth-century disasters in which
the essential and integral elements of
Central Europe disappeared – above all
the Jewish and German Diaspora – a
strong consciousness of a communal history and tradition that is open to modernization still prevails. The real Western Europe with its centres of Brussels,
Luxembourg, Strasbourg and – especially – London, Paris and Amsterdam,
with the great „Blue Banana” axis from
Manchester via the Rhine and Frankfurt
am Main to Marseilles, Barcelona and
Turin: this is the genuine, dynamic centre
of the unification of post-war Europe, and
it will probably remain so. It is in many
ways the European coast of the American-transatlantic world, just as Hellas was
once situated on the Roman-dominated
Mediterranean. And Southern Europe,
where the Eternal City and the heart of
Old Europe beat and beats, the centre
of the Occident. This overview is not
complete. It is merely an indicator of the
fact that this polarized Europe of old has
dissolved into a multipolar Europe, and
that we must learn to reckon with these
differences, these centrifugal forces, and
also with this strength.
Europe cannot be comprehended
simply in terms of statistic data or details
of distances in kilometres, for it is a phenomenon of the mind, of the collective
memory, of national traumas and longings. This, of course, applies particularly
to a difficult and strained relationship
such as that between the Germans and
the peoples of Eastern Europe. After
centuries of inspiring and fascinating
cooperation, a phase of unprecedented destruction followed in the twentieth century, in which the old network
of German cultural relationships broke
down. After the German war and German rule from 1939 to 1945, things
could never be the same again. Even half
a century of peace cannot simply erase
traumas of this kind. War, persecution,
occupation, philosophical war with the
revocation of all the previously valid
norms, genocide, and finally the reaction to all this in expulsion and ethnic
cleansing – all this has left deep marks.
On the other hand, each generation
creates its own image of the world and
of the past. With the new experiences
that we make today, a new history is
emerging. The rising generation of Europeans is re-mapping Europe. And it may
be that on this map the present plays a
greater role than the past that the young
people know only from hearsay.
The disappearance of the East brought
the end of the old West hot on its heels.
Europe was what it was through the
whole of the post-war period be cause
of the division of the world. Post-war
Europe consisted of the opposites of
„democracy and dictatorship”, of „capitalism and socialism”, of „freedom and
oppression”. These were the ideological
codes for the existence of two hemispheres, two different ways of life. The
division determined the mental economy of the continent. It defined the alternatives and the lack of alternatives. We
always had to decide. Post-war Europe‘s
KOM M E NTÁROK ÉS VITÁK
solution was the either-or, the unambiguity, the yes or no. Now the East no
longer exists. What has emerged in its
place is neither the old nor the new. It is
a no-longer and a not-yet. It is no longer
a dictatorship, nor is it a real democracy,
perhaps a „dictocracy”. The unambiguity has vanished. The West has lost its
enemy in the East. The barbarians, without whom the West apparently cannot
live, come from other parts of the world
today. The mirror that the West gazed
into has disappeared.
The new Europe did not spring from
Zeus‘s brow but is growing up from
below. There is a lot to be learned from
the new East. In the past ten years the
people of Eastern Europe have experienced and been involved in great
changes which everyone feared would
end in a political and social catastrophe.
Despite the terrible wars in Yugoslavia
and the Caucasus, the „transformation”
was, by and large, peaceful and humane.
Although the living conditions of an entire
society changed drastically and sometimes brutally, there were no revolts or
rebellions or militant conflicts. People
showed a high level of social discipline,
political wisdom and patience. Confronted with almost hopeless everyday situations and rapid changes of living conditions, they did not lose their nerve, they
did not succumb to hysteria and panic,
and they developed a remarkable capacity for creative improvisation. This growing Europe is not identical with the strategic plans for Europe drafted in Brussels,
Luxembourg and Strasbourg. The central planning activities are still bound up
with the „expansion of Europe”. There
are several illusions in this formulation.
Firstly, the expansion of the European
Union is not the same as the expansion
of Europe. Europe is also those parts that
do not belong to the EU. Eastern Europe
is also Europe. What the essential „core
Europe” can learn from Eastern Europe is
above all faith in the ability of institutions
to renew themselves, in the strength of
the basic activities of the civil society, and
the improvisational power and ability of
countless individuals. Societies like the
Polish one, for example, have shown
that far-reaching and enduring changes
which are desired and understood by
the people themselves can be realized in
collaboration with them. It is this faith in
the self-assured independence of the civil
society that is the most important condition for the success of the new Europe.
TRANSLATED BY MAUREEN
OBERLI-TURNER
First published in the Pro Helvetia cultural
magazine Passages/Passagen, No 36
21st INTERNATIONAL BOOK FESTIVAL BUDAPEST
24–27 April, 2014,
Millenáris, H-1024 Budapest, Kis Rókus str. 16–20.
FROM THE PROGRAM OF THE 21st INTERNATIONAL BOOK FESTIVAL BUDAPEST
APRIL 24, THURSDAY  15.00  TEÁTRUM  Opening ceremony with the Classical Turkish Music Ensemble
 16.00  STAND B1  Offical opening of Turkey’s guest of honour stand and the Ibrahim Müteferrika exhibition (Ministry of
Culture and Tourism of Republic of Turkey)  16.00  TEÁTRUM  Sofi Oksanen the Finnish Guest of Honour Writer and Nóra
Winkler on-stage conversation  17.00  TEÁTRUM  Presentation of the Budapest Grand Prize for Sofi Oksanen. Laudation
speech: Krisztina Tóth
APRIL 25, FRIDAY  13.30  HESS ANDRÁS HALL  Presentation of David Albahari’s book with Zoltán Virág
 14.00  MÁRAI HALL  On contemporary Brazilian literature with Daniela Neves and Mónika Bense  15.00  SZABÓ
MAGDA HALL  New history titles of Osiris Publishing: Hungary and the Soviet System. Mária Ormos, János Rainer M., János
Gyurgyák  18.30  ROMANIAN INSTITUTE OF CULTURE  A new chance for Romanian culture? Panel discussion with
Norman Manea, Paul Cornea, Daniel Cristea-Enache, Simona Sora, Radu Aldulescu, Filip Florian, Matei Florian, Doina Ruşti and Ioan
Matei  18.00–19.00  OPEN-AIR THEATRE  Sándor Kányádi – Kaláka concert
APRIL 26 SATURDAY  10.00–20.00  STAND G4  An Introduction to literary translation and literary translators with
Ádám Nádasy  Turning world literature into Hungarian – talks, games, professional advice and things for the road. (Hungarian
Association of Literary Translators)  10.30  OSZTOVITS HALL  Presentation of Anne Applebaum’s book Iron Curtain
with Krisztián Ungváry and János Betlen (Európa)  10.30  SZABÓ MAGDA HALL  Conversation with Daniel Banulescu
(Scolar)  10.30  MÁRAI HALL  Conversation with Finnish writer Rosa Liksom (Széphalom)  11.30  MÁRAI HALL
 Péter Esterházy with Gunnar D. Hansson about the art of writing in the Arctic  13.00  SZABÓ MAGDA HALL  Presentation
of Igor Ostachowicz’s book (Kossuth)  13.00  KNER IMRE HALL  Presentation of Tomáš Zmeškal’s novel (Typotex)
 13.30  OSZTOVITS HALL  The cosmopolitans of Finnish literature: Rosa Liksom, Ulla-Lena Lundberg, and Pauliina Rauhala
(Finnagora)  14.00  MÁRAI HALL  Presentation of Bogdan Wojdowski’s Holocaust-novel with Alina Molisak, Lajos Pálfalvi,
Zoltán Halasi  14.30  SZABÓ MAGDA HALL  Norman Manea book presentation with Péter Esterházy  14.30  KNER
IMRE HALL  Gregor Sander in conversation about his novel with Júlia Váradi (Goethe-Institut)  14.00–17.15  LÁZÁR ERVIN
HALL  European First Novel Festival with  I. Alida Bremer, Ana Margarida de Carvalho, Annemarie de Gee, Judit Hidas, Vessela
Lyahova, Kristian Novak, Hilde Østby, Yael Pieren, Tomáš Zmeškál and András Forgách  II. Jesús Carrasco, Harald Darer, Jasmin B.
Frelih, Maria A. Ioannou, Marco Magini, Patrycja Pustkowiak, Pauliina Rauhala, Roderik Six , Ondrej Stefanik and Anna Gács
APRIL 27, SUNDAY  10.00–20.00  STAND G4  An introduction to literary translation and literary translators
(Hungarian Association of Literary Translators)  11.00  OSZTOVITS HALL  Somewhere in Europe: Lettre – L’Harmattan
Matinee with David Zabránský, György Dragomán, Endre Kukorelly, Péter Váradi, Alida Bremer, György Spiró, János
Háy and Gábor Csordás  11.00  MÁRAI HALL  György Konrád’s book presentation with Imre Barna: Here in Europe
(Europa Publishing)  13.00  STAND B2  Matei and Filip Florian’s book presentation with Attila Bartis (Bookart
Publishing)  16.00  OSZTOVITS HALL  Lajos Parti Nagy’s book presentation with Júlia Váradi (Magvető Publishing)
 16.30  SZABÓ MAGDA HALL  The missing man – Raul Wallenberg, knight of Humanum presented by Szabolcs Szita (Patmos
Records and Hetek)  16.00–18.00  TEÁTRUM  Birthday Literary Salon. Host: Tamás Tarján (Hungarian Publishers’ and
Booksellers’ Association)
69
H u n g a r i a n
L e t t r e
•
S p e c i a l
E n g l i s h
E d i t i o n
Sp ring 2014
ALEŠ DEBELJAK
The Perils and Hopes of a European Identity
DEBELJAK, Aleš
The Hidden
Handshake:
National Identity
and European
Postcommunism
Rowman &
Littlefield, 2004
Reluctant
Modernity: The
Institution of Art
and its Historical
Forms
Rowman &
Littlefield, 1998
Twilight of the Idols:
Recollections of a
Lost Yugoslavia
White Pine, 1994
70
It is a hot summer afternoon and the
crowds of tourists are seeking shelter in
the shade of the glistening streets of the
Umbrian town of Assisi. I am pushing a
stroller with a thirsty one-year old baby
in front of me, my five-year old girl wants
a sandwich and my three-year old son
would like to see the dragon on the door
hook of the San Francesco Hotel from
close. So our family takes a turn to the
hotel lobby; perspiring, in khaki shorts,
with swollen bags of diapers and picture
books, chattering chaotically, we make
our way past the solemn modernist paintings on the walls, the bored receptionist
and the temptingly luxurious armchairs.
Surprisingly gentle music can be heard
from the invisible loudspeakers. Although
we only pass the lobby and settle on the
terrace I am suddenly overwhelmed by
a recurring experience. What overcomes
me is that same feeling of uneasiness
I have regularly experienced in the big
hotels of Western Europe and the United States. It is a feeling of uneasiness
and vague trepidation that the porter
will mercilessly throw me out if I only
take one wrong step – which will fatally reveal that I am not familiar with the
code of communication and with the
spontaneous self-confidence that marks
people who know their rightful place in
the world. While it may not be immediately obvious that I am an “Easterner”, “a Slav” or someone from “the Balkans” and my physiognomy may not say
much about my ethnic origin, the insecure movement across the parquet floor
nevertheless exposes me. The political
economy of insecurity manifests itself in
the most minuscule gestures and facial
expressions. In my cautious approach,
it is not only the experience of socialist
poverty which accompanied my student
hitch-hiking trips to Western Europe, but,
above all, a bitter experience of the hidden non-recognisable identity – which is
not the same as being unnoticed. No, this
is due to a lack of context and a network
of symbolic, cultural and mental signs
that could allow the identification of the
region I come from. I have a feeling that I
owe something to somebody and that it
is not my place to be at the parlour table
where I could be idly flipping through the
pages of today‘s issue of l‘Esspresso and
the International Herald Tribune . Instead,
my place – for which I was supposed
to be grateful – is at best somewhere
outside, on the limits of the acceptable
public space, on the terrace, not exactly
on the street yet certainly not in the com-
fort of air-conditioned luxury. This has
been reserved for the chosen ones. And
I sense that this is not only my personal
experience that whispers in my ear, but
also the historical – and surely problematic – collective narrative of the region and
nation to which I belong.
My American wife is not hampered
by these mental obstacles. In principle,
all hotels the world over are the same:
they serve travellers and meet their
needs for food, drinks, safety, familiarity
of the language and shelter, perhaps even
enjoyable company. Granted, my feeling
of frustrating unease may have arisen
from personal psychological idiosyncrasies. I will be hard-pressed, however, to
believe that this feeling is not hinged, too,
on the legacy of communism as a collective environment of customs, styles of
behaviour and sediments of social-moral
division that had set a privileged nomenclature apart from the anonymous “working class”. Moreover, I am increasingly
certain that my insecurity is rooted in
the no less important fact that the very
name of my country, in the hotel lobby
in particular and in everyday discussions
of people from the street in general, still
elicits incomprehensive looks at best
and suspicious or even scornful ones at
the worst. Slovenia and – without much
exaggeration – all of East and Central
Europe as a category of everyday public
language in the “developed democracies”
does not belong into the dictionary of
recognisable topography and even less
so into the acceptable and accepted form
of social recommendation. Since Slovenia
is not linguistically domesticated, it cannot expect to be civilised. It is still too
unknown, foreign, different.
Both, other social legacy of communism and cultural heritage of “the
Other Europe” – as the current postcommunist world was once so aptly
called by Czeslaw Milosz – still represent the uncertain disturbance or the
incomprehensible murmur in the languages of respectable European society.
Europe itself – as a civilisational habitus
– is exactly the framework in which the
countries of the eastern part of the continent project their political, cognitive and
emotional aspirations. They measure the
depth of their collective pain on its terms,
yet they are not its self-evident and integral part. We, who come from the region
of blurred spots on the maps, from the
birth places of tribal consciousness and
fanatic hatred, eastern backwardness and
Byzantine corruption, primitive passions
and gripping mythical stories – we are,
above all, a disturbing figure wherever
we turn up.
Us and them
Western Europe has increasingly been
able to usurp the historical idea of Europe
as a whole by way of political institutions
of the Cold War and cultural mechanisms of the production of meaning in the
last fifty years. A network of procedures
by which the metaphysical mandate has
been designed to show the truth and
standards of appropriate conduct, has
referred to the heritage of Enlightenment
and to the professional ethics of responsibility when discussing political co-operation, economic and legal integration.
However, it tacitly enhanced the exclusive
nature of the European idea. This attitude
could – since the time of Crusades – be
seen in the persistently negative relations
with Muslims as a stereotype for all that
is “foreign”, for all that does not belong
to European civilisation, as Tomas Mastnak brilliantly demonstrated in his book
Christendom and Muslims. I do not intend
to speak here about the special case of
Islam in Europe, which is certainly one of
the key reasons for the passivity of Western Europe in solving the Balkan crisis and
in the almost completely accomplished
genocide over the Bosniacs. The Muslims are but a painfully evident metaphor
for something that is – without being
self-evident and without large conceptual
problems – not easily integrated into the
symbolic context of the European habitus that is spontaneously recognisable in
Western European public. The Muslims
are just a provisional, though not mistaken, example for a foreign element which
is represented (to different degrees of
acceptability) by post-communist lands
at the end of the millennium. The predominant form of language, which allows
for this exclusivity is not fixed. Regardless of different historical configurations,
it derives instead from the fact that modern “Europeanism” as a forma mentis was
shaped in the period of the Cold War.
Therefore the parameters of selections, which govern the main, if not
all, spheres of life in Western Europe,
are essentially still marked by the binary assumption of “us” versus “them”, as
David Kideckel argues in his Us and Them:
Concepts of East and West in the East
European Transition . I do not claim that
we are dealing with one kind of public
rhetoric only. The plurality of views take
place within the supposed framework
which is more or less widely accepted
among both the elites and the general
public. It is assimilated into the horizon
of expectations and is part and parcel of
interpretative models that account only
with difficulty for the changing European
map in the geopolitical sense as well as in
the sense of cognitive mapping. This cognitive mapping does not cease to reach
for well-worn and persistent stereotypes
and clichés. And what is more persistent
than the stereotype of East Europe as
the “Other Europe”, as a place of shabby
characters and corrupt psychopaths or
potentially dangerous beggars with a disregard for rules of decency and law-abiding conduct?
Indeed, it would not be excessively
radical to argue that before it has attained
any positive unified substance in economic, political, cultural and social terms,
Europe as a mental space has already
been articulated negatively, by the publicly and institutionally perceived need to
contain the common enemy on the other
side of the Iron Curtain. The homogenisation of Western Europe could only take
place per negationem: not by definition of
what it is, but on the basis of determining the boundary and by defining what
it is not. The physicality of the boundary between “the free world” and “the
empire of the red star” has strengthened
and legitimised the fearful asymmetry of
Europe by its walls, barbed wires, mine
fields and trigger-happy guards. In such a
context, the mental structure of European identity remained determined by the
“foreign” element, by the damaged and
the damaging. Moreover, even the positive substance that eventually came to be
construed throughout the last fifty years
in Western Europe has been put into the
service of boundary-maintenance.
Philosophical thoughts, images of cultural creativity and the production of
meaning did not suffice when a devastated Western Europe needed to get back
on its own feet and to acquire a considerable degree of consolidation after the
Second World War. The representation
of “Europeanism” had to be based in the
impersonal logic of self-propelling principles that have the capacity to provide
at first sight a dividing line at the most
tangible, direct and therefore the most
accessible level. The gospel of the accumulation of capital, that is to say, the procedures of trade and business conduct
in the chapters of the Marshall Plan and
the Organisation for European Economic
Co-operation (OEEC), both formulated
a few years after the end of the Second World War, played a major unifying
role in Western Europe. They came to
be accepted as repositories of formative,
binding and functionally significant values.
Having built more on the developed tradition of industrial capitalism than on the
achievements of social democracy, these
values have been assimilated in the daily
habits of peoples. They have thus set up
KOM M E NTÁROK ÉS VITÁK
the general standard against which all
attempts at shifting the social, moral, aesthetic and ideological boundaries are cast
as deviant or subversive – as abnormal.
Western Europe as a carrier of these
norms and standards has began to translate them into a series of institutions and
procedures that were to guarantee their
life and the life of those people that honour and uphold them. The European
Union, while by no means the only transnational body on the old continent, surely
deserves to be seen as the pre-eminent
project wherein the aspirations to ensure
European commonality are embedded.
It is through the EU that Western European countries participate in the formidable task: in the apparently neutral and
bureaucratic methods by which standard conduct and norms of conceptual
and imaginative appropriation of experience are increasingly transposed into
the growing body of formal regulations
and procedural rules. These regulations
are invested with the belief that they
guarantee not only a particular way of
doing business and conducting political,
economic and social affairs, within and
between the member states, but also
provide a transcendental meaning for the
norms and values they support. In this
regard, the triumph of capitalism and
democracy after the “velvet revolution”
in 1989 was seen as the confirmation of
the universal status these norms and values seemingly possess.
However, ten years after the “velvet
revolution” and after the violent break
up of Yugoslavia, it has become clear that
non-reflected “co-ordination” between
the “European” symbolic, moral, political
and social values on the one hand and
the “European” capitalism on the other
can no longer be maintained by the line
of least resistance. The Pandora‘s box
that was opened after the collapse of
the Berlin Wall cannot be closed again.
While fanatic nationalism arises in the east
part of the continent, and on the basis of
old – although not necessarily generally recognisable – ethnic traditions many
new countries are born, Western Europe
continues to turn a blind eye to the return
of a suppressed history, since it insists on
the position that the period of the “spring
of nations” has been left far behind. It
seems that the painful history of the nineteenth century with the unification of the
German Länder (lands), the patching-up
of Italian provinces (“We have Italy, now
we need Italians”, exclaimed Massimo
D‘Azeglio notoriously) and brutal ethnic
homogenisation of the French state is
nowadays completely forgotten. If these
past nationalist movements had been
integrated into the symbolic horizon of
Europe more clearly, it would not be
so easy either to get the impression that
nationalism of big countries is legitimate,
while in small and new countries the
alarm bells have to ring immediately. The
nationalist history of Western Europe had
to be suppressed inevitably, if the process
of integration was to begin at all. The
former nationalist nations thus became
enthusiastic Europeans under the cover
of economic prosperity and a politically
strong consensus on the inevitable progress of the “common market”. It was in
an effort to facilitate precisely this progress, that Winston Churchill based the
reconstruction of the European family of
which they became members, on a prospective partnership between France and
Germany in his famous 1946 speech at
Zurich University.
France and Germany, which today
represent the leading force of European
integration and investment in a strong
Europe – though for different reasons
– have more or less buried their nationalist animosities by facing the demons of
their own totalitarian history (Vichy, the
Third Reich). Today, their visions of a
future EU structure differ, since they are
based on their own particular history
(the republican tradition of a strong state
in France and a tradition of constitutional checks that were designed to make
another Holocaust impossible), which
does not, however, prevent us from discerning a common denominator of their
essential European efforts: they focus on
the nationalism of the fat purse. I don‘t
want to be misunderstood here. I hasten to say that there is no doubt that a
historical reconciliation between these
countries represents a significant achievement of political deliberation worthy of
profound respect; but it would be wrong
not to recognise the primacy of the economic logic as the basis of reconciliation
between two traditional adversaries. It
was precisely the economic integration of
Western Europe that was truly essential
to Jean Monnet‘s original idea. Political
motivation in guaranteeing a lasting peace
between the traditionally hostile countries is possible only if a potential war is
not only conceptually incomprehensible,
but “materially impractical”. The European Coal and Steel Community (ECSC),
the mother of today‘s EU, established in
1951 in Paris by the “original six” (Belgium,
France, Germany, Italy, Luxembourg and
the Netherlands), became the first truly
supra-national organisation “with teeth”
in post-war Europe. The master narrative, on which the legitimacy of the postwar Europe is based, was formed in such
a way as to prevent renewed catastrophic breakouts of imperial chauvinism and
ethnic grandomania, the scars of which
needed a long time to heal. Economic
funds should be used within the project,
process and progress towards unification
for achieving a political goal. This political
goal is a renunciation of force in the resolution of disputes among the members
of the Union.
The creation of the European “community of peace” is therefore predicated on a pragmatic consideration which
demands to be teleologically justified.
Telos of peace as the supreme value
provides an irrefutable language of necessity that is embedded in the foundations
of the European unification. Due to the
effective resistance to external globalisation, such a unification is inevitable if
it is to ensure the liberalisation of the
intra-European market, to establish habits of institutional co-operation and foster
the reduction of mutual cultural and societal suspicion. Economic integration will
provide a feeling of mutual dependency
among peoples, thus preventing that the
necessary conditions for the psychology
of fear may occur and will thus hopefully eliminate the breeding ground for a
recurrence of the catastrophe because of
which Warsaw and Berlin, Budapest and
Petrograd were destroyed fifty years ago.
The factors which impede global trade
and a constant flow of capital are to be
abolished, the international conflicts are
to end: this is the mantra which is not
necessarily heard every day; it works,
however, as an obvious assumption of
each discourse expressing the intention
of “Europeanism”. The less you hear it,
the more it actually works.
Elusive Common Dreams
In this light, we have to consider the possibilities for the construction of a common template for an inclusive European identity that will have a wide public appeal. Here, too, West European
preconceived notions and excessive reliance on integrating effects of “economics”
alone undermine more than invite a construction of a viable and shared master
narrative. Moreover, the hegemony of
the economic nature of the EU continues exactly to the extent to which the
comprehensive and rationally organised
attempts for the EU to formulate a “common mental framework” are marked by
failure. Joint projects such as, for example,
the cultural capitals of Europe that foster
mutual understanding between European nations, Erasmus and Tempus scholarships designed to encourage the circulation of scientific research, international
human rights workshops, and support
for building of the democratic mind in
the public at large – all these and many
other applicable and welcome forms of
European co-operation will hang in the
vacuum of particularist engagement, if
they are not going to be anchored in
the common grand narrative. What do I
mean by that? I have in mind a substantial and imaginative framework of general
identification, that material for “common
dreams” which could give all the citizens
of Europe a certain minimum of existential meaning and emotional density by
which we recognise the adherence and
commitment to something which transcends us as individual persons with particular identities. Let us make no bones
about it: I do admit that such construction
is utopian. It is hinged on the search for
balance between the ethnic or cultural
tradition on the one hand and on the
loyalty to supra-national, over-arching
cultural habitus on the other. Yet I can‘t
bring myself to believing that “a reciprocity of horizontal transactions” – as Karl
Deutsch described integration that gives
each member equal access and a say in
the affairs of the whole – can be established without mutual acceptance of a
common, publicly shared sphere within
which the reciprocity can be conducted.
However, my own experience and
consideration of the genesis of national
identifications as the strongest modern
form of collective allegiance speak about
the fact that “Europeanism” cannot be an
effective unifying idea unless it wilfully and
systematically reaches into the heritage
of all European nations. As such, “Europeanism” would have to meet several
demanding standards such as inter-generation continuity, perpetuated by a common cultural amalgamation of distinct
ethnic traditions, reinforced by a shared
memory and the expectation of a common future, as Dominique Moisi suggested in her essay “Dreaming of Europe”. In
other words, “Europeanism” would have
to provide a symbolic order wherein a
centripetal force might have the capacity to diminish – though by no means
abolish – centrifugal forces of primary
identifications one feels as a Pole, German, Catalan, Croatian, Scott or Italian.
The emotional charge in these building
blocks of “Europeanism” in statu nascendi,
is here of course undeniable. Varieties of
totalitarian nationalist abuse, to which the
mobilising power of collective emotional
ties in nineteenth century West Europe
and in twentieth century East and Central Europe have often been subjected,
need not disqualify them from equation.
In fact, the dominant political currents in
the European “age of extremes” reveal
copious evidence in support of the claim
that primary national identifications based
on shared self-perception of ethnic, cultural and linguistic heritage, have certainly become winners in the competition for popular allegiance, reducing to
mere options those identifications that
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are based on social class or lofty ideals
of abstract cosmopolitanism.
“Europeanism” is thus nothing but an
“invented tradition” (Eric Hobsbawn)
which contains weak hopes that its
far-reaching and inclusive agenda might
appeal to a majority of individuals and
peoples in Europe. So far, alas, precious
few efforts have been made to construct
such common, master narrative. In part
because Europe lacks a common natural
language and because it abounds in different national, ethnic and cultural traditions,
“Europeanism” does not figure very highly
on anyone‘s list of priorities. Moreover, it
would not be an exaggeration to claim
that systemic and institutional integration
of the European continent increasingly
parts ways with cultural integration. It
is thus with an understandable sense of
regret that I state the obvious: to date
the EU has not succeeded in building a
satisfactory series of images, values and
ideals which do not concern only our
immediate existence and its difficulties
and joys. “Europeanism” as an orderly
constellation of aspirations, values, images, attitudes, convictions and concepts
that, when successfully welded together,
provides sources of individual inspiration
and grants meaning to collective behaviour – such a “Europeanism” is not yet
on the horizon. Yet, I am convinced that
it needs to be contemplated and consequently imagined together lest we, rich
West Europeans and poor Central and
72
East Europeans alike, find ourselves in
an undesirable situation. We will share
the institutions and agencies for unharnessed financial and labour transactions
but our respective cultural spheres will
have remained condemned to a life of
mutual tolerance, which is to say, mutually encouraged passivity and lack of active
interest in each other‘s immediate experience, as Will Kymlicka suggests in his
book Multicultural Citizenship . Without a
broad social consensus on legitimate and
thus publicly generally accepted presence
of a grand narrative, in which the Europeans recognise themselves exactly as
Europeans and not exclusively as Poles,
Germans, Lithuanians or Croatians, the
experiments according to its constructions have to resort to abstract postulates.
Therefore it is not unusual in this context
that the “common mental framework”, in
which the rich experience of the European cultural diversity would be symbolically
integrated and re-modelled, has greater
difficulties as regards its form and substance than the “common market”. John
Stuart Mill in his Considerations on Representative Government states this need in
a classical formulation: “Among a people
without fellow feelings, especially if they
read and speak different languages, the
united public opinion necessary to the
working of representative government
cannot exist”.
Supra-national identifications presuppose the recognition of the necessity
of multiple loyalties. Insofar as diversity
of cultures has traditionally been a key
element of Europe‘s greatness, this very
diversity should be reinforced and celebrated. Forging new European identity
as a complex and hybrid “invented tradition” calls for recognition of ineluctably
multiple identities of which “Europeanism” may possibly be designed. There
is of course an element of wishful thinking here: multi-layered identities should
allow for simultaneous celebration of
local, national and continental elements.
It should not be impossible to be at the
same time a Catalan, Spanish and European. Fundamental allegiances need not
be exclusionist allegiances.
Alas, the current strategies of ongoing
negotiation on the shape and character
of “Europeanism” are to a large degree
guided by a profound distrust of particular
and national identifications. This distrust
may rationally be understandable, but it
is epistemologically unacceptable in the
globalising world in which “Europeanism”
is but a particular identity itself. That is
why it is impossible to fashion any kind
of common ground of shared European identity if one is forced to eschew
the fecund local, particular markers. If
one shies away from the troublesome
dialectics of particular and general, the
only sustained answer will have necessarily remained abstract and ultimately non-committal. If one wilfully avoids
engaging the relevance of cultural habits
and values of different nationalities of
Europe, one‘s “Europeanism” will end up
looking hollow, simulated and non-substantive. Neither the appeal of the European Commission nor the universal civic
and ethnically blind nature of Europe‘s
supra-national institutions possesses the
power to inspire citizens since they are
too hollow to mobilise socially and too
immaterial to spark spontaneous affection.
A word of caution is needed here,
however. Europeanism as an attitude
may help us in the effort to find egalitarian, democratic and vibrant communities that render individual life secure
and meaningful, but Europeanism as the
requirement “from above”, as pro forma
cosmopolitanism, is more likely to rob
us of our concreteness and our lived
immediacy, unlocking a potential that may
ultimately benefit the less wholesome
aspects of yearning for the community
and identity. If anything, European twentieth century gave us the power, as is
evident with hindsight, to recognise a
huge potential of primary identifications.
It makes no sense to attempt to dismiss
them with a liberal disdain. Our attachments, after all, start parochially and only
then grow outward. To bypass them
in favour of an unmediated “European”
identity is to risk ending up nowhere –
feeling at home neither at home nor in
the world.
© eurozine 2001
KOM M E NTÁROK ÉS VITÁK
GYÖRGY KONRÁD IN CONVERSATION WITH ANDREI PLESU
Ego sum civis europeus
ANDREI PLEŞU
Crisis has its good
sides.For instance I know Romania is
going through a crisis, I know Hungary
is going trough a crisis, we all know, the
European Union is going through a crisis,
if all this crisis creates the opportunity for
me to meet you and have a chat with you,
it’s not that bad.
GYÖRGY KONRÁD
Once I had the

opportunity to introduce your talk, and
I said Andrei Pleşu angel researcher and
minister for foreign affairs. And this was no
metapher, this was the fact.
Once I was introduced in a German

context as Engelsforscher, what made me
very angry, because everybody thought
I were doing research on Friedrich Engels.
By the way there is some connection
between the angels and the ministry for
foreign affairs. Angel in Greek means
mercury i.e. ambassador. That means
I did not went too far from my field of
research.
Would you be ready to state about

yourself: Ego sum civis europeus.
You ask me if I could admit I’m a

good European citizen, and I think, I have
no choice.
But there is one definition of being
European which in my mind is the best
one can find.
I found a book by a French writer living
in Berlin, Jacques de Witte, and he has
drown my attention to a painting from
the 16th century, a painting of a Nederlandish painter Jan Mosard, who is painting West Indian landscapes and it is about
Europeans invading the new territories of
America. And in these paintings the good
guys are those, who are invaded, and the
bad guys are the Europeans. We are in
the 16th century already.
And then Jacques de Witte has start to
say: this characteristic of the Europeans
to accept that they might be the bad guys,
is something very important and very
specific. It is not a sign of superiority, but
it is a sign of specificity.
Europeans have invented Eurocentrism,
but they also invented anti-eurcentrism.
Europeans invented colonialism, but
they also invented anti-colonialism.
Europeans were curious about other
cultures and nations, beyond etnocentrisms, and they went there, and they
invented orientalistics, africanistics. It
were Europeans who visited everybody
out of interest, out of curiosity. Sometimes in a very brutal way.
But it is also Europeans, who were not
that much visited by others they visited
them. But this is not the case any longer.
Now we are visited by many people
from outside of Europe.
Anyway, this capacity of Europeans to
have „une meauvaise conscience”, a bad
consciousness, a guilt feeling, this is very
European. And I think we have forgotten
this characteristics of Europe.
If we Rumanians would learn to have
some guilt feeling about ourselves, if in
Hungary Hungarians would learn to have
some guilt feelings about themselves, if
the EU would learn to have some guilt
feelings about itself, then we all would
be very European.
But it seems a rather difficult task to be.
Europeans have done horrible things.
Think of the 20th century with 2 world
wars, with holocaust, with gulag and so on.
But it is always European to regret and
to try to make it good again, to oppose
this attitude.
The opening speach of this gathering
goes in this direction.
I mean we accept we had been bad guys
several times in our history. This is a very
healthy way of contemplating ones history.
So I am a European citizen, because,
I hope I don’t make a proof of vanity,
I feel guilty a lot of time every day on
different issues, even o nprivate issues
I tend to fiel guilty.
This does not mean I recommend
everybody to become neurotic, to complain every day that everything is wrong
on his side. No, but still I would prefere
melancholy to euforia.
I like this answer, because you said
actually that to be European means to
be paradoxical. And as our profession may
be to write novels, this means that we see
the paradoxical character of human beings,
and countries. And we have to stress sometimes with even darker colours the paradoxical character of the European history
of the 20th century. The 19th century was
probably nicer. The beginning of this 21st
is questionable. We cannot speak about it
with a certain safety. But if we speak about
the 20th it is evident that the most terrible
things have happened in this part of Europe
and at the end a part of it became a little
bit reasonable and sober.
(Extract from the introductory
discussion of the 2nd Budapest
debate on Europe hold on September
27, 2013 at the Academy of Sciences
organized by the Szechenyi Academy
of Arts and the German Academy
of Language and Writing)
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AUTH O RS
ANNE APPLEBAUM  (b. 1964) is a Polish American journalist and Pulitzer
Prize-winning author. She studied at St Antony‘s College, Oxford before
moving to Warsaw, Poland in 1988 as a correspondent for The Economist. Iron
Curtain: The Crushing of Eastern Europe 1944–56, was in 2013 shortlisted for
the PEN/John Kenneth Galbraith Award.Anne Applebaum-Sikorska became a
Polish citizen in 2013.
DANIEL BĂNULESCU  (Romania, 1960) officially debuted in 1993, six years
after his first debut attempt was halted by the Ceaucescu regime, who were
unhappy with the references to sex in his poems. In his current work sexuality
plays a major role, often tied to religious references. Bănulescu grew up in
Bucharest, where he studied engineering, but now he works primarily as a
writer and journalist.
ALIDA BREMER  born in Split/Croatia in 1959, obtained her PhD at
Saarbrücken with a comparative study on the topic “detective novel”. She
writes essays, prose and poetry in German as well as in Croatian. She has
translated many books by Croatian authors into German.She was granted the
„Grenzgänger“- scholarship for her novel by the Robert Bosch Foundation.
JESÚS CARRASCO  was born in Badajoz in 1972 and then he moved
to Seville, where he has been living since 2005. He has been working as
an advertising editor, activity he combines with writing, since 1996. Out in
the Open has established him as one of the most remarkable debut of the
international literary scene. The novel, which has been enthusiastically received
by the best foreign editors, even before being available in Spain, was published
in thirteen different countries.
HARALD DARER  was born in Styria in 1975. After completing an
apprenticeship as electrician he starts writing at the age of 30. Since then he
has published numerous works and has received various prizes. Harald Darer
lives and works in Vienna.
ALEŠ DEBELJAK  is a poet and essayist, head of the Centre for Cultural
and Religious Studies, University of Ljubljana. He recieved his PhD in social
thought from Syracuse University. His publications include: Dictionary of
Silence, The City and the Child, Reluctant modernity: the institution of art and its
historical forms, Anxious Moments, Twilight of Idols: The Tragedy of Yugoslavia and
Individualism and Literary Metaphors of the Nation. Debeljak‘s work is translated
internationally and he has been awarded among others the Slovenian National
Book Award.
ANA MARGARIDA DE CARVALHO  was born and raised in Lisbon,
where she studied Law, getting a degree at the Universidade of Lisboa
(UL). Journalist for more than 20 years at ‘VISÃO’, the main Portuguese
newsmagazine, she signed several reports and received the most important
national awards on Journalism. Currently, she is working at the Cultural section,
also as a Film Critic and co-administrating ‘Final Cut’, VISÃO’s cinema website.
She has worked on television, signed the column ‘Elevator Talk’ and written
film scripts and a theatrical play. “Que Importa a Fúria do Mar” is her first
Novel.
ANDRÁS FORGÁCH  (b.1952 in Budapest) studied history and philosophy
at the Eotvos University, Budapest, worked in theatre between 1976–1984 and
1995-97, and since 1984 has been a freelance writer, playwright, translator, and
author of three novels.
JÁNOS HÁY  (b. 1960 in Vámosmikola) is a Hungarian poet, playwright,
novelist and essayist. Author about 20 volumes, his dramas are translated and
played internationally.
JUDIT HIDAS  was born in 1976 in Budapest. She has been working in
various fields which contribute to her collection of stories to tell. She was
among the 3 finalists for the 2012 Petri Award, a prestigious Hungarian prize
for young talents. She is the Hungarian participant at the European First Novel
Festival in Budapest.
MARIA IOANNOU  was born in 1982, in Limassol. She has obtained a 1st
Class Honours degree in English Literature at the University of Reading, as well
as an MA in Twentieth-Century Literature at King’s College London. She has
published her work in newspapers, magazines and anthologies. The Gigantic
Fall of an Eyelash her short prose collection has been selected to represent
Cyprus in the 14th Biennale in Skopje.
74
GYÖRGY KONRÁD  (b. 1933) is an internationally known
Hungarian
novelist and essayist, former dissident, president of the International Pen Club
and the Akademie der Künste, Berlin.
ROSA LIKSOM  (born Anni Ylävaara, Ylitornio, in 1958) is a Finnish writer
and artist. She studied anthropology and social sciences at the universities
of Helsinki, Copenhagen and Moscow. She won the J. H. Erkko Award in
1985 for her debut novel Yhden yön pysäkki and the Finlandia Prize in 2011 for
Hytti nro 6.
JØRGEN LORENTZEN  (b. 1956) is a Professor at the Center for
Gender Research at University of Oslo, Norway. He has written several
books and articles within the field of gender theory, cultural studies, literary
analysis and masculinities, most recently Män i Norden: Manlighet och
modernitet 1840–1940 [Nordic Men: Manliness and Modernity, 1840–1940];
Kjønnsforskning. En grunnbok [Gender Studies: An Introduction], and
Maskulinitet [Masculinity]. He has been the project leader of several research
projects, an active participant in gender debates all over the world, and a
frequent speaker on issues relating to gender and masculinities.
ULLA-LENA LUNDBERG  (b. 1947) is a Finland-Swedish author living in
Porvoo, Finland. She was born in Åland and is a qualified ethnologist. She has
published a huge range of works encompassing poems, documentary novels,
travel writing and novels. Her Swedish language books have been translated
into several languages, including Finnish, Danish, German, Russian and Dutch.
She is author of the novel Marsipansoldaten.
VESSELA LYAHOVA  (b.1961) has published short stories and theater
reviews. Refugees is her third book and her first novel. It was nominated for
the Helicon National Literary Prize for Prose in 2013. Refugees is an epic tale
about the fate of the Bulgarian minority in Northern Greece and its expulsion
from the region during the Second World War. Italy attacked Greece in 1940,
putting an end to the peaceful life of several Bulgarian families in Drama and
the vicinity. How they survived the war, their hopes that the Aegean Region
would be annexed by Bulgaria, their view on the civil unrest in Greece, their
forcible relocation to Bulgaria, the attempts to change their sense of ethnic
identity, and their resistance to repression – all of this forms the novel’s
intricate, gripping plot.
MARCO MAGINI  (b.1985, Arezzo) graduated in International Economic
Politics at the London School of Economics. For study and for work, he has
lived in Canada, the United States, Belgium, Turkey and India. Today he
resides in Zurich, where he works in the field of climate change and sustainable
economics. His first novel As if I where alone retelling of the massacre in
Srebrenica and of the subsequent trial at the International Criminal Tribunal
was finalist at the Calvino Prize in 2013.
NORMAN MANEA  was born in 1936 in the Romanian province of
Bukovina. His life and work were marked by his early years in a concentration
camp, his afterlife under communist dictatorship and exile.His novels, short
stories, and essays typically draw from his experiences with totalitarianism and
his later life as a writer in exile living in the United States. His works have been
translated into more than twenty languages. Yale University Press recently
reissued his novelistic memoir The Hooligan’s Return as well as his novel
The Lair.
HATICE MERYEM  (b. 1968) is an Istanbul based novelist and short story
writer, and former editor of the literary magazines Okuz and Hayvan. Her
books include the novel Kisim Kisim Yer Damar Damar (2008), and the short
story collections Sinek Kadar Kocam Olsun Basimda Bulunsun (2008) and Siftah
(2000) Recently, she has been working on scripts for tv series and contributing
to the feminist publishing house, Ayizi. Her book May I Have a Fly-Sized
Husband to Watch Over Me was welcomed in Europe and translated into
German and Hungarian.
ALINA MOLISAK  is a Polish literary historian specialized on Polish-Jewish
literature. She teaches at the Department for Polish Literature at the University
of Warsaw. She was coeditor of the volume Polish and Hebrew Literature and
National Identity. Warsaw: Elipsa, 2010
KRISTIAN NOVAK  (1979) was born in Baden-Baden, Germany. He
attended primary school in Sv. Martin na Muri and grammar school in Čakovec.
KOM M E NTÁROK ÉS VITÁK
Graduating in Croatian and German Studies at the Faculty of Philosophy in
Zagreb in 2005, he earned his Ph.D. from Postgraduate Linguistics Studies
in 2011. He holds a lectureship with the Department of Croatian Studies at
the Faculty of Philosophy in Rijeka and teaches also at the Department of
German Studies in Zagreb. Novak’s chief areas of research include historical
sociolinguistics, multilingualism (Croatian–German language and culture
contacts) and national identity.
SOFI OKSANEN  was born in 1977 in Jyväskylä Finland. Her father is
Finnish and her mother is Estonian. So far, Oksanen has published four novels,
all of them international bestsellers, and two plays. She has received several
international and domestic awards for her literary work. Latest was the
Swedish Academys Nordic Prize for her body of work. She will be the Guest
of Honour writer at the Budapest International Book festival this year.
IGOR OSTACHOWICZ  (b. 1968) graduated in international relations. He
has worked as a paramedic at the Institute of Psychiatry and Neurology, as
a manager at a number of companies, and for the past few years as a civil
servant. At present he is secretary of state in the Polish Prime Minister’s office,
where he writes the Prime Minister’s speeches and acts as his adviser and
public relations manager.
ANDREI PLEŞU  (b. 1948) is a Romanian philosopher, essayist, journalist,
literary and art critic. He has been intermittently involved in politics assuming
the roles of Minister of Culture (1989–91), Minister of Foreign Affairs (1997–99)
and presidential counsellor for external affairs (2004–05). fter the Romanian
Revolution of 1989 he was one of the founders of the “New Europe College”
an institute of advanced studies, and of the cultural magazine Dilema (now
Dilema Veche). He worked as a professor at the Academy of Fine Arts in
Bucharest and is now a professor at the University of Bucharest, where he
teaches art history and philosophy of religion. His book On Angels – Exposition
for a Post Modern World was published by Cross Meridian / Berlin University
Press in 2012.
HASSAN PREISLER  is an actor, director and writer. He is a founding
member and artistic director of the theater company DanishDanish. Brun
mands byrde (Brown Man’s Burden) is his first novel. Winner of Denmark’s most
significant debut prize. The sophisticated, democratic, supremely informed,
super advanced Hassan lives in New York City and Berlin and Beirut and
London and Copenhagen. Wherever he goes he blends in with the crowd of
hyper globalised individuals.
PATRYCJA PUSTKOWIAK  (b. 1981) is a Polish journalist and writer. Her
literary articles were published in such leading Polish magazines as Polityka,
Wprost, Lampa, Bluszcz and Chimera. She also published her short stories
in various Polish literary magazines – her first short debut appeared in the
prestigious “Twórczość”. In 2013 she was a finalist of The International Short
Story Festival in Wrocław and her story was published in the festival short story
collection “Pin i zielonym”. In 2013 she also released her first novel – “Night
animals” (W.A.B.) which has been highly acclaimed among Polish literary critics.
PAULIINA RAUHALA  (b. 1977) has an M.A. from Oulu University
and works as Finnish teacher. She lives in the northern city of Oulu with
her husband and three sons. She is the Finnish first novelist with her book
Heavenly Song about a family in a very religious community.
JUDITH ROTEM  was born in Budapest to a very orthodox Jewish family.
As a baby she was one of the 1684 people who were saved by Dr Kastner.
After 7 months in a concentration camp and 10 months in refugee camp, she
and her family arrived in Eretz Yisrael. When she was 18 she married a young
Torah scholar and became a teacher while he continued studing. Over the next
12 years she gave birth to 9 children, two of whom died in infancy. Despite all
this, she did not give up on her dream of becoming a writer. She struggled to
overcome many difficulties and eventually succeeded in creating a new life with
her children, outside the ultra-orthodox society. She is the author of 9 books.
Her books have been translated into English, Italian, German and Hungarian.
GREGOR SANDER  born 1968 in Schwerin, is a German writer, he lives
in Berlin. Sander was suggested as Hildegard Elisabeth Keller’s competition
sponsor. His novel with GDR life stories Was gewesen wäre was published in
February 2014 at Wallstein Verlag.
KARL SCHLÖGEL  (b. 1948) is a German historian and essayist, professor
of Eastern European history at the Viadrina University, Frankfurt/Oder. His
latest publication is Terror und Traum. Moskau 1937, for which he has been
awarded the Leipziger Buchpreis zur Europäischen Verständigung (Leipzig book
prize for European understanding). As a visiting fellow, his residencies have
included Budapest, Oxford, Munich, Uppsala, and Berlin. His many books have
been translated into English, Russian, Polish, Spanish, Dutch and Italian.
RODERIK SIX  (b. 1979) is a Flamish writer, he works as a literary critic
for Flemish magazine Focus Knack. With his first novel Flood, he has won the
Bronzen Uil 2012, the prize for the best debut novel in the Dutch language.
GYÖRGY SPIRÓ  (b. 1946) is a Hungarian writer, playwright, and essayist.
He was teaching Slavistics and Central European Literature at the Budapest
University ELTE. He is a member of the Széchenyi Academy of Literature and
Arts.
KATEŘINA TUČKOVÁ  prose writer, curator. She was born in Brno in
1980, she studied Czech studies and history of arts at Masaryk University in
Brno. She is an author of the writer Věra Sládková´s monograph and of three
pieces of prose: Montespaniáda (2006), Vyhnání Gerty Schnirch (2010) and
Žítkovské bohyně (2012, Josef Škvorecký Prize).
DUBRAVKA UGREŠIĆ  (b. 1949) studied Comparative Literature and Russian Language and Literature at the University of Zagreb, pursuing parallel careers as a scholar and as a writer. In 1993 she left Croatia for political reasons.
She has spent time teaching at European and American universities, including UNC Chapel Hill, UCLA, and Harvard University. She lives in Amsterdam
where she is a freelance writer and contributor to some American and European literary magazines and newspapers.
DAVID ZÁBRANSKÝ  (b.1977) is a Czech prose writer, he graduated
from Charles University in Prague in media studies and law, to which he
devoted himself until recently, working exclusively in the non-governmental
sector. He has worked for Poradně pro občanství [Counselling Centre for
Citizenship]. His novel, Slabost pro každou jinou pláž (Any beach but this with the
sub-title Poznámky k moři, smíchu a duchu doby), won a prize in the category
Discovery of the Year in the literary competition Magnesia litera.
TOMÁŠ ZMEŠKAL  (b.1966 in Prague) works as a writer, translator and
a secondary-school teacher of English literature. For this debut novel, he
was awarded the Josef Škvorecký Award and the European Union Prize for
Literature.
75
H u n g a r i a n
L e t t r e
•
S p e c i a l
E n g l i s h
E d i t i o n
Sp ring 2014
CONTENTS
HUNDRED YEARS OF EUROPE – WAR AND PIECE
Sofi Oksanen: The period between the cold wars is over .....................................................................................................................................................................................1
György Spiró: Piece Hount (flash play).....................................................................................................................................................................................................................3
György Spiró interviewed by Eve-Marie Kallen: No politics, no ideology, just human relations ........................................................................................................................4
Ulla-Lena Lundberg: Marsipansoldaten (excerpt) ....................................................................................................................................................................................................8
Alina Molisak: The Jewish Nation – from Polish-Jewish literary perspective .....................................................................................................................................................12
Igor Ostachowicz: Night of the Living Jews (excerpt)............................................................................................................................................................................................16
Forgách András: Zehuze (excerpt) .......................................................................................................................................................................................................................... 17
Kateřina Tučková: The Expulsion of Gerta Schnirch (excerpt) ............................................................................................................................................................................20
Vessela Lyahova: Refugees (excerpt) .......................................................................................................................................................................................................................22
Marco Magini: As if I were alone (excerpt) .............................................................................................................................................................................................................23
25 YEARS WITHOUT THE IRON COURTAIN
Norman Manea interviewed by Carla Baritz: The Great Work and the Compromised Man .............................................................................................................................24
Kristian Novak: Black Mother Earth (excerpt) .......................................................................................................................................................................................................27
Ann Applebaum: The Worst of the Madness (extract from an article) ................................................................................................................................................................28
Gregor Sander: Winter fish (excerpt) ......................................................................................................................................................................................................................30
Jesús Carrosco: Out in the Open (excerpt) ............................................................................................................................................................................................................32
Ana Margarida de Carvalho interviewed by Isabel Lucas: Frightening Freedom ..............................................................................................................................................33
Harald Darer: If You Lie down with Dogs (excerpt) ..............................................................................................................................................................................................34
Tomáš Zmeškál: Love Letter in Cuneiform (excerpt) ............................................................................................................................................................................................35
Ondrej Štefánik: A Fingerless City (excerpt)...........................................................................................................................................................................................................36
Daniel Banulescu: The Missing Lady Rowers of Lake Snagov (excerpt) ..............................................................................................................................................................37
Marta Petreu: In Another Life (poem) ....................................................................................................................................................................................................................39
David Zábranský: Any Beach But This (excerpt)................................................................................................................................................................................................... 40
János Háy: The Body of Freedom (an essay on Poland) .......................................................................................................................................................................................42
INDIVIDUAL AND COLLECTIVE CHOICES INSIDE AND OUTSIDE OF THE ENLARGED EUROPE
Rosa Liksom: Back in the USSR (extracts from a novel) .......................................................................................................................................................................................46
Tamar Rotem talks with and about Judith Rotem: All about my Mother (excerpt) ............................................................................................................................................50
Pauliina Rauhala: A Heavenly Song (excerpts) ......................................................................................................................................................................................................53
Jørgen Lorentzen: Ibsen and Fatherhood ..............................................................................................................................................................................................................56
Maria A. Ioannou: The Gigantic Fall of an Eyelash (excerpts) .............................................................................................................................................................................57
Patrycja Pustkowiak: Night Animals (excerpt) ......................................................................................................................................................................................................58
Yael Pieren: Stork Bite (excerpt) ..............................................................................................................................................................................................................................59
Judit Hidas: Hotel Havanna (excerpt) ....................................................................................................................................................................................................................60
Alida Bremer: Oliva’s Garden (excerpt) .................................................................................................................................................................................................................. 61
EUROPE FROM A GLOBAL PERSPECTIVE
Roderik Six: Flood (excerpt) ....................................................................................................................................................................................................................................62
Hassan Preisler: Brown Man’s Burden (excerpt) ....................................................................................................................................................................................................63
Dubravka Ugrešič: We are Barbarians (excerpt) ....................................................................................................................................................................................................64
Hatice Meryem interviewed by Amy Spangler and İdil Aydoğan: Literature is the Spice of Life ......................................................................................................................65
DISCUSSIONS ON EUROPE
Karl Schlögel: Europe Tests its Boundaries ............................................................................................................................................................................................................68
Aleš Debeljak: The Perils and Hopes of a European Identity ...............................................................................................................................................................................70
György Konrád and Andrei Pleşu: Ego sum homo europeus ...............................................................................................................................................................................73
Authors .......................................................................................................................................................................................................................................................................74
Contents .....................................................................................................................................................................................................................................................................76
Magyar Lettre Internationale is the Hungarian version of Lettre Internationale, a European cultural journal published in several countries and languages,
founded by Antonin J. Liehm in Paris 1985. Members of the board: Béla Bacsó, Péter Esterházy, Márta Fehér, Ágnes Heller, Imre Kertész, György Konrád,
Mihály Kornis, Endre Kukorelly, Péter Lengyel, Lajos Parti Nagy, Sándor Radnóti, György Surányi.
Editor in chief: Eva Karadi ([email protected]), layout: Attila Szabó ([email protected]), design: Katart-Tipografika ([email protected]),
printed at Molnár Nyomda, Pécs
The publication: EUROPEAN WRITERS’ MEETING: HUNDRED YEARS OF EUROPE consists of discussion papers, background materials for the April 25,
2014 event. An English supplement of Magyar Lettre Internationale published for the European Writers’s Meeting connected to the 21st Budapest International
Book Festival
SOMEWHERE IN EUROPE
European Novel Series of L'Harmattan, Budapest
with the support of the EU Literary Translation Programme
szepirodalom.harmattan.hu
The Dutch Foundation for Literature,
Crossing Border festival & Brody Studios,
Budapest present
When
We look forward to welcoming you on
29, 30 and 31 May from 7.00 p.m.
until 11.00 p.m.
Drop in at ‘Café Amsterdam’ for three
nights of debates, interviews, movies
and music, with well-known and upand-coming authors and musicians.
Come by for a night devoted to the
graphic novel with the melancholic but
funny American artist Ben Katchor, or a
lively discussion with German novelist
Timur Vermes and Dutch bestselling
author Arnon Grunberg. Attend an
interview about family ties with novelist
Toine Heijmans and listen in to a
conversation between Gábor Csordás
Where
Most (though not all) events will take place
in the Brody Studios at Vörösmarty utca 38
in the 6th district. Exclusively for ‘Café
Amsterdam’, Brody Studios will open its doors
to everyone – members and non-members.
Café Amsterdam is part of the Budapest Essentials Festival
and Frank Westerman about idealism
and utopias. Enjoy the music of brilliant
singer-songwriter Dyzack, and see for
yourself what Dutch professor Douwe
Draaisma has to say about your
memory – plus many more exciting
events! Take note of the dates and
come along to feel the characteristic
vibe of an Amsterdam café in Budapest.
For the full program see:
www.letterenfonds.nl/cafe-amsterdam
(as of May 10th).
Tickets
Tickets are on sale for 700 HUF (students
and members) or 1000 HUF (nonmembers). Tickets will be available at
Brody Studios reception (+36 126 637 07).
European Writers’ Meeting
with the guest writers of the Book Festival
Millenáris, Friday, April 25, 2014
panel discussions
10.00 – 11.30
12.00 – 13.30
14.30 – 16.00
16.30
17.30– –18.00
18.30
Hundred years of Europe – War and Peace
Aleš Debeljak, Alida Bremer, Kristian Novak, Marco Magini,
Ana Margarida de Carvalho, Alina Molisak, Spiró György
chair: Csordás Gábor
25 years without the Iron Courtain
Sofi Oksanen, Konrád György, Norman Manea, Ulla-Lena Lundberg,
Daniel Banulescu, David Zábranský, Háy János
chair: Barna Imre
Individual and collective choices and life strategies in the enlarged Europe
Rosa Liksom, Judith Rotem, Pauliina Rauhala, Jørgen Lorentzen, Yael Pieren,
Patrycja Pustkowiak, Hidas Judit
chair: Gács Anna
Europe from a global perspective
Hassan Preisler, Tomáš Zmeškal, Kateřina Tučková, Vessela Lyahova,
Jesus Carrasco, Harald Darer, Maria A. Ioannou, Roderik Six
chair: Forgách András
with English-Hungarian simultaneous translation
(Európa Pont, Millenáris, Budapest, II. Lövőház u. 35.)
europapont.blog.hu